Europe's 'Come This Madness' - Album Review

Due to the amount of time that had passed since they released their last album, 2017's Walk the Earth (which I reviewed here), I think that I have been guilty of late when it comes to including Sweden's Europe when talking about late-career renaissances. I generally point to bands like Deep Purple and Uriah Heep, who have been producing material to rival the work of their 1970s heydays over the past decade or so - but, at least throughout the late 2000s and early-to-mid 2010s, Europe certainly did the same. At one point, it really seemed like something new from Europe was dropping annually - and I also saw the band live regularly throughout the same period, both as a headline act in theatres and as a special guest in arenas. Europe had just become something a fixture, then, and I generally had a Europe gig ticket waiting to be used and a new studio or live album pre-ordered. In more recent times, though, Europe have slowed down somewhat. Given the regular run that the band had been on new material-wise, which came to an end with Walk the Earth, I would have expected something to drop in 2019 or 2020 - but those years came and went without any news. The touring seemed to drop off somewhat, too, and after seeing the band headline on their UK tour supporting Walk the Earth in 2018 it was not until 2022 that I saw them again - when they opened a bill which was topped by Whitesnake and also included Foreigner. Admittedly, the pandemic likely played a big part in this gap - and I had a ticket for the same tour in 2020 which was cancelled, only to magically reappear a couple of years later. I also had a ticket to see the band in 2023 on their big anniversary tour, but a combination of bad weather and poor railway infrastructure meant that I could not journey up to Wolverhampton that day - meaning that I missed out on what was likely an all-timer of a Europe show. The band also released a new song around the same time, Hold Your Head Up, which was played on the tour as something of a celebration of their history. As such, I assumed that a new album was well on the way by that point - but Hold Your Head Up proved to be just a stand-alone single, and it was not until earlier this year that the band finally announced their follow-up to Walk the Earth, their twelfth album overall, Come This Madness. Following nine years on from Walk the Earth, which is a gap that is not all that much smaller than the 13 year gap between 1991's Prisoners in Paradise and 2004's Start from the Dark, during most of which the band did not really exist, Come This Madness does not feel all that different from the 2017 release - or the string of albums that preceded it. I often consider both Start from the Dark and 2006's Secret Society as the band finding their feet again following their hiatus, flirting with a more modern sound, before deciding to sound much more old-school, bluesy, and 1970s-inspired on 2009's Last Look at Eden - a sound which they have largely carried on with despite working with different producers. Working with Dave Cobb on 2015's War of Kings (which I reviewed here) and Walk the Earth saw the band at their bluesiest and most retro-sounding - but some of those vibes have continued forward into Come This Madness, despite this latest album feeling a little more overtly melodic and smooth overall. Some have described it as a return to the band 1980s heyday in terms of sound. I do not agree with this view at all as, to me, the album is very in-keeping with everything that the band have been doing of late - but there is certainly a smoothness that was perhaps not always present, thanks to new producer Tom Dalgety, who has worked with bands like Opeth and Ghost.

Like Walk the Earth, too, Come This Madness is quite a short album at just over 40 minutes. It is very digestible, then, and I also enjoyed hearing some of the songs live earlier this month when I got to see the band live again for the first time since 2022. One of those songs which featured live, and the album's lead single, One on One kicks things off. Following an orchestral start, a rumbling, yet hooky, bassline from John Levén is the first big moment here - over which a snaking guitar riff from John Norum is soon laid, alongside some groovy drumming. Those who have liked anything the band have done in recent years, will instantly recognise the slightly heavy, bluesy grooves of the track - but Mic Michaeli's keyboards are perhaps a little brighter. He utilises organ sounds less than usual throughout, but the synths still sit nicely within the band's core sound - and there are melodic additions throughout, especially during the chorus. Frontman Joey Tempest sounds as good as ever vocally. He has never really lost any of his power, but has perhaps adopted a more soulful approach over the years - which is evident here during a hooky chorus that sticks in the brain after a couple of listens. The song might not be as anthemic as some of the band's best cuts, but the pulsing synths, barrelling riffing, and Tempest's passion all adds to up to something hooky - and Norum's later solo is also excellent. The flashy synth opening to the next number The Cult of Ignorance is perhaps the closest the album comes to sounding like something from the 1980s. Michaeli's speedy melodies are very 1980s-coded, but the weight of the guitar behind them and Norum's darker guitar tones root the song firmly in the band's more recent sound. That being said, that aforementioned smoothness is present here. The ever-present synths give the song a melodic edge - whilst the simple strut of Ian Haugland's drumming propels the song along nicely. The chorus of the first song was more subtle, despite the hooks, but this song's chorus is big and brash - possibly the album's most anthemic moment overall. It is easy to sing along with, thanks to big synth stabs and Tempest's excellent vocals - and the song feels like one that is likely to hang around in the live set for years to come. The synth melody from the intro later returns at the end in a bigger way, too, and the song just feels nicely well-constructed as a result. The title track follows, which feels a little faster early on - driven by quite a bluesy guitar riff and some energetic drumming. There is a snappy groove to the riff, which helps the song to have a kinetic feel to it early on, but the overall arrangement is quite varied. The opening and the chorus, which utilises the same riff, feel hard-hitting and rocking - but there is a darkness to the verses, thanks to the guitars largely dropping away and Tempest singing against some dense keyboard textures and the rhythm section. Bluesy guitar motifs are thrown in, but largely the verses feel sparser - which allows the chorus to somewhat explode in later with the return of the opening riff. An orchestral bridge section later builds on the vibes of the verses, with Tempest's mournful vocals - before a brief keyboard solo gives way to an excellent Norum guitar solo. All of Norum's blues rock credentials are on show here and, whilst his playing is busy, the tone and note choice fits very nicely with the song's main themes.

Slowing the pace quite considerably, This Time of Year is the album's only real ballad. Largely built around Michaeli's piano playing, the song is a rumbling, emotional ballad of the kind the band have always written. The descending piano melodies early on are very memorable, especially backed by some subtle orchestrations, whilst the verse piano melodies feel a little more simple - with the rhythm section providing a routine grounding. Tempest is there to provide the character, then. He has always been able to deliver ballads well, and that remains the case here - with plenty of emotion during the verses and a bit more of a powerful delivery during the chorus when Norum's guitar kicks in. Norum does not have a lot to do here, but he makes his solo section count with some more emotive melodies to build on what Tempest does elsewhere - whilst a classic key change for the final chorus adds some late drama. In a Different World gets the band back to a more organic hard rock sound, and the song feels like a bit of a hark back to the sound of the last album in a way. The main riff has a Led Zeppelin-esque simpleness to it, whilst the hard-hitting drumming and bluesy overtones propel the song with a strutting mid-paced groove. The keyboards do not play that much of a role here. They kick in a bit more during a bigger-sounding chorus, but they really are in the background during the verses - which are led by the repetitive guitar riffing and Tempest's surprisingly laid back vocals. The keyboards ramping up during the chorus allows for a point of difference, which is welcome, but the chorus itself is not one of the album's hookiest. Norum's guitar solo is very good, though, building from a slow base towards something more powerful. Another orchestral intro heralds the arrival of the next song, the up-tempo single Scandinavian Eyes. After largely ignoring the instrument for synth textures up to this point, Michaeli returns to this organ here - and once the fast-paced main guitar riff kicks in, the hard-driving organ is forever doubling it. There are strong Deep Purple vibes during the main riff, then, whilst spiralling, almost metallic riffing backs the verses - which see Tempest spitting out the lyrics at times with a surprising venom. The song is hooky and memorable, but there is a heaviness throughout that Europe reach for every so often - which gives the track a nice amount of weight. That is born out during all of the guitar riffs throughout, as well as a dryer chorus that does sink in but perhaps not immediately. Synth leads and another excellent guitar solo come later on - but this is largely a song that is all about its main riff and energy, alongside a chorus that does a lot with not very much. Takin' It Back opens in a more melodic manner, with some neo-classical guitar melodies from Norum, which are backed by similar keyboard lines - with the song soon morphing into a pretty melodic and slightly lighter-feeling rocker. This is another tune with a bit more of a 1980s approach, although there some organ moments held over from the previous number - especially during the verses. There is some grit to the piece, then, but there is also a smoother overall edge than would have been present on a previous album - which is especially present during an up-tempo and melodic chorus. Norum's later solo builds on the neo-classical melodies laid down previously, showcasing his love of Michael Schenker, and the song overall is a bit of a sleeper on the album - and it has become a bit of a favourite on more recent listens.

In the Absence of Grace is the album's shortest song at around a minute and a half. It is essentially a piano and vocal-based intro to the next song. Sombre piano melodies, subtle strings, and mournful vocals from Tempest build in quite a dramatic manner over the song's short runtime - ending on a dark string swirl before the effects-heavy guitar melodies of The Angels Must Have Flown fade into view. These opening melodies are a little misleading, as they are soon cast aside for a tough, slab-like riff from Norum that feels like one of the album's heaviest moments. The song overall is about as heavy as everything else here, but the main riff is a bit doomier than is typical for the band - whilst a simplified version is utilised for mid-paced, dark verses that are backed by quite a dense string arrangement. There are also some Led Zeppelin vibes thanks to the somewhat Eastern melodies utilised by the strings, but the guitar riffing is much heavier overall - whilst Tempest delivers something of a muted vocal performance. The song feels like one that the band could have pushed a bit further, and really gone all-in on a heavy, Black Sabbath vibe. They probably wanted to keep things more grounded, which is understandable, but it does feel like a little bit of a missed opportunity given the power of the riff - but I  do like the overall string arrangement, as well as what is quite a subtle chorus. Lengthy guitar and keyboard solos are also welcome additions. The Devil's Back is another pretty riffy track early on, but it is another song that harks back to the previous album somewhat. Michaeli makes use of his organ again, especially during accented guitar flourishes during the verses, whilst Norum's main guitar riff early on is hooky and full of energy. This riff later forms the basis of the song's chorus, which is another strong addition. The chorus hooks are the sort that stick in the brain from the off - and there is a bouncy energy to it despite the song still feeling fairly grounded and organic. This is, in part, due to sparser verses which do not exhibit the exuberance of the chorus. The dynamic approach works well, then, allowing for a bit of a creeping feel during parts of the verses, and the song to explode more into its chorus. Norum delivers another pretty strong guitar solo here, too. It is one of the album's longer solo sections - with bluesy and neo-classical melodies tumbling from his guitar as he plays. The album then comes to a close with Nothing Can Follow This. The song opens with some distant piano and a bit of strange spoken word, so it seems as if the song is going to be another ballad, but it feels like more of a rocker overall. Despite it rocking out, though, it is certainly not a heavy song - and there remains an epic, ballad-like feel throughout parts of it, even when the guitars are riffing away. For me, the song just has a strong cinematic quality which has not really been showcased on the album up to this point. Europe have written songs like this in the past - and they often act as album closers. Their album closers of late certainly seem to have something of a theme music-wise - with Michaeli's wide-ranging keyboard textures and strings creating a big sound, even when Norum is riffing away. Songs like this often take a few listens to bed in, but there is a decent chorus here that is pretty melodic - as well as a big guitar solo that builds on the scope of the song and pushes it further. The album ends well, then, and like with all of Europe's recent albums I come away satisfied. Despite the nine year wait, Come This Madness feels like Europe are still at their best - and the album sits nicely alongside their other recent efforts despite the smoother approach production-wise. Many of the songs here are very hooky and built around excellent riffs - ensuring a good mix of bluesy, organic vibes and soaring, melodic hooks.

The album was released on 25th September 2026 via Hell & Back Recordings/Silver Lining Music. Below is the band's promotional video for The Cult of Ignorance.

Beast in Black - London Review

Whilst I had a good time with both Wishbone Ash in Plymouth and Tortured Demon in Bristol last weekend, I always had the feeling that Monday night's trip to London would contain the main event. Everything over the weekend felt as if it had been building up to Monday - so it was with excitement that I got my train from Bristol to London on Monday, after something of a welcome lie-in, ready for one more evening of music. Perhaps strangely, I was not feeling all that tired - so by the time I got to London and into my hotel I was pretty fired up and ready for a night of prime power metal. Despite the presence of an excellent bill, the main reason for the trip was to, finally, see the Finnish power metal act Beast in Black as a headliner. Whilst Monday was my sixth time seeing the band live, it was my first time seeing them top a bill. I first saw them live back in 2018, when they opened for the then-reformed Rhapsody in London - and have since seen them open for Nightwish twice, Gloryhammer, and Helloween. In fact, I remember buying the ticket for Monday's show whilst standing in the queue outside the Eventim Apollo in Hammersmith waiting to get into that aforementioned Helloween show. I have always enjoyed seeing Beast in Black live, but had never had the opportunity to see them as a headline act before now. I remember being rather annoyed at not being able to get to a UK tour a few years ago which included Firewind on the bill, especially as it came fairly locally to Bristol, as I think the show clashed with some pre-existing plans. I was not going to miss this opportunity, then, even if only a London show was included this time - especially as the tickets went on sale just over a year ago. The show is one that I had been looking forward to for quite a while, then, especially as the band were as good as ever when they opened for Helloween that night. It ended up being a notable show in the band's history, too, as it was their final show with guitarist Kasperi Heikkinen - who was, if the rumours are to be believed, essentially left behind in London following a post-show disagreement. The band carried on as a four-piece for a few shows, before drafting in current Crownshift and former Children of Bodom guitarist Daniel Freyberg to help out for a while. He was never going to be a permanent solution due to his other commitments, so guitarist Markus Venehsalo was brought in earlier in the year to permanently replace Heikkinen. Throughout all of this, too, the band have been working on their fourth album - which was supposed to be out before this current tour, but clearly that has not happened. A couple of singles have been released and presumably the album will follow next year - so I think that it is fair to say that the past year or so has been something of a dramatic one for the band. They seem to have come through it relatively unscathed, though, save for the delay that the new album has suffered - and seem really keen to push forward into a new era on this lengthy European tour. Despite Beast in Black being the main event, I think that it is fair to say that the overall bill was a very tempting one for power metal fans. It seems strange to think of Sonata Arctica as anything other than a headline act these days but, in fairness, their commercial peak is likely now behind them - so having them as a special guest certainly gave the tour a bit more credibility. Funnily enough, the day before buying the ticket for the show I had seen Sonata Arctica live for the first time in nine years - so was relieved not to leave it so long again. Also on the bill as openers, too, were relative newcomers Frozen Crown from Italy - whom I had previously seen once before opening for Kamelot in 2024.

The London show took place at the O2 Forum in Kentish Town - a decent-sized venue for a power metal show in the UK. Given Beast in Black's status, the show sold out a while ago - so perhaps the band will consider a larger venue next time or a better spread of UK shows. Due to Beast in Black having a 90 minutes set, and Sonata Arctica rightly afforded a full hour, this meant that Frozen Crown had to start their 30 minute set 15 minutes after the doors opened. Even though I got to the venue around half an hour before the doors opened, the queue was already really long - so it took a while for me to get in. As such, Frozen Crown had already started playing - and I missed two or three of their songs, which was disappointing as I been looking forward to seeing them live again. There were plenty of people behind me in the queue, too, who likely ended up missing a lot more of the show - which is a shame as Frozen Crown are rising stars in the power metal scene and deserve to be seen by as many people as possible. Despite missing some of the show, I was still impressed by the band - even if their live sound mix was a bit on the muddy side. Frontwoman Giada Etro is a real powerhouse. She does not go for an operatic nor an angelic approach - instead really powering through the band's guitar-heavy power metal sound with a smooth, clean, yet high-octane vocal sound. She is a great frontwoman, too, and sounded great despite being a bit low in the mix at times. Guitar-heavy is the best way to describe the band's sound, too, as Frozen Crown have three players - with bandleader Federico Mondelli, Alessia Lanzone, and Alexandra Lioness all riffing and soloing throughout. Mondelli writes most of the band's songs, but I would say that most of the soloing was done by the two ladies, even though the duties were fairly well spread - ensuring that the crowd was constantly kept on their toes with who was doing what. They were a man down, with bassist Francesco Zof conspicuous by his absence, but the three guitar attack somewhat made up for this - with the bass likely just on the backing track with the keyboards and orchestrations. That being said, Frozen Crown rely on such less than many power metal bands - with the triple guitar attack certainly the driving force of the band's sound alongside the big vocals of Etro. Songs like Who Wants to Burn in Heaven and Reborn showcased the latest album nicely, whilst their cover of the Goo Goo Dolls' Iris conjured up a bit of a sing-a-long - even though I fear the band will now be saddled with playing that song live forever, as is often the case when bands do novelty covers. Whilst I cannot fully judge Frozen Crown's set as I did not see all of it, I enjoyed what I did see - and I hope to see the band properly again one day.

There was only about 15 minutes between Frozen Crown's set and Sonata Arctica's - so there was not much waiting around. Having seen the band recently, I wondered what their setlist would look like - especially acting in support rather than as headliners. Sonata Arctica have likely not been a support act for a while - but they did not seem to mind, delivering a powerful nine-song set in their 60 minutes on stage. The band are celebrating their 30th anniversary this year, so the nine songs played came from throughout their career - with a good mix of styles present. The show started with an orchestral intro, which stopped just in time for frontman Tony Kakko to start singing the slow-burning chorus of I Have a Right. I personally would not have opened with the slower, slightly hypnotic song - but it worked better in that context than I expected it to. I have to say that it has never really been a personal favourite, but it is a popular number - and there were plenty around me singing along. Given that Sonata Arctica are essentially power metal legends at this point, though, I was surprised how many in attendance seemed to not know their songs. They received a strong reception - but perhaps they have bypassed some of the younger power metal fans who are more into the brasher, often gimmicky, form of power metal now popular. Sonata Arctica have always been a bit left-field and enigmatic in any case, and are far from a typical power metal band, as Kakko somewhat acknowledged on stage. I had a great time, in any case, and power metal stompers such as Black Sheep and The Last Amazing Grays were big highlights - whilst gentle moments such as Tallulah hit just as hard. Given the somewhat muddy mix that Frozen Crown battled through, the overall sound was much clearer for Sonata Arctica. In fact, they sounded excellent - with all of the nuances of the band's sound easy to discern. The keyboards of Henrik Klingenberg were especially high in the mix, and it was good to see how much of the keyboard work he was doing live - with a fairly limited reliance on backing tracks. The synth melodies, lengthy piano sections, and shredded solos all came across really well - whilst the chunky guitar riffing of Elias Viljanen was suitably beefy, even if I have never really liked his live guitar tone. Sonata Arctica are the way they are, though, duo Kakko - who is a unique frontman and songwriter. He has always walked his own path, and that is why I have continued to be invested in the band throughout all of their style shifts - with songs like Paid in Full and the stranger Closer to an Animal showcasing perhaps the variation in the band's approach over the years. I was really enjoying the band's set as always, so was disappointed when it was clear that it was coming to a close. FullMoon is always going to come towards the end of a Sonata Arctica set, and it was the first proper sing-a-long of the night. The crowd really got into the power metal classic, with even some of the casuals waking up, before the band's ever-present closer Don't Say a Word brought an hour of melodic power metal to a close with one last anthemic chorus and keyboard/guitar solo duel - and, of course, the obligatory Vodka sing-a-long. The setlist was:

I Have a Right

Black Sheep

Paid in Full

Tallulah

The Last Amazing Grays

Closer to an Animal

Shy

FullMoon

Don't Say a Word/Vodka

The changeover between Sonata Arctica's set and Beast in Black's was a more typical 30 minutes - but given the lack of waiting around earlier it passed quite quickly, and soon the lights were down and some synthy music was blaring out of the speakers. This intro went on for quite a while, too long probably, but soon the band took to the stage - and launched into one of three new songs played throughout the set. The high-energy Mighty Dragon made a good first impression but, as I have often said, it can be hard to judge hearing a new song live for the first time. Its chorus is likely to become one that sticks around, though, and it felt like a powerful set opener - with frontman Yannis Papadopoulos sounding his best from the off. Like during Sonata Arctica's set, Beast in Black's sound mix was generally very good. The vocals generally soared above the band - whilst the guitars of Venehsalo and bandleader Anton Kabanen were full of power. Sometimes when I have seen the band live the synth backing tracks have been very overpowering, but that was not the case on Monday - with the guitars generally the driving force, allowing the band to sound heavier. Another new song in Fear the Beast followed, but given that it has already been released as a single the crowd were immediately into it - and following the appreciation of the opening number the atmosphere levels rose and the rest of the night felt pretty electric. The sold out O2 Forum was bouncing from number to number, and the band treated the strong turnout with a 19-song set that fairly equally culled material from all three of their albums - alongside some stand-alone singles and the new material. There were no huge surprises in the set, with much of what was played being the best of the band's output so far. Early on the crowd were treated to the shout-along chorus of Hardcore - before Venehsalo introduced the older Born Again with a fluid guitar solo to act as his proper introduction to the UK fans. The quality of Beast in Black's output so far is so consistent that my reaction to each song was essentially: 'Nice, I like this one!'. The London show was the first night of the tour, so I had not seen a setlist beforehand - so which song was coming next was genuinely a surprise each time. There are still at least a couple of songs I would have liked to hear instead of perhaps a couple of the regulars, but I cannot complain about the quality of the material played - especially when true band anthems like their self-titled song and Sweet True Lies came about halfway through. By this point, the crowd were fully warmed up. The chorus vocal interplay between Papadopoulos and Kabanen was ticking, their two growling voices trading back and forth, whilst shredded solos came thick and fast, too. Up on his industrial riser, too, drummer Atte Palokangas was beaming all the way through - and I think his drumming style is quite underrated, given that he often has to compete with programmed drums doing a different beat at the same time as his more traditional metallic additions. Papadopoulos hyped up the crowd a few times, introducing some of the songs, but largely the band just let the songs flow. Things were slowed down a bit later on with the final new song, the ballad Lost Children, but it was straddled by high-energy pieces Die by the Blade and Zodd the Immortal - ensuring that the energy levels never really dropped. A personal favourite in the form of Highway to Mars came later on, which was a bit of a surprise, whilst the latter portion of the set was largely made up of big favourites such as the stand-alone single Power of the Beast and the club-like One Night in Tokyo. By this time the 11pm curfew was looming, but the band did not stop to think - instead just powering through the early classic Blind and Frozen and the up-tempo No Surrender to bring a night of power metal to a majestic close. The setlist was:

Mighty Dragon

Fear the Beast

Hardcore

Guitar Solo

Born Again

The Fifth Angel

From Hell with Love

Beast in Black

Sweet True Lies

Enter the Behelit

To the Last Drop of Blood

Die by the Blade

Lost Children

Zodd the Immortal

Highway to Mars

Cry Out for a Hero

Power of the Beast

One Night in Tokyo

Blind and Frozen

No Surrender

Apart from the disappointment of missing part of Frozen Crown's set, my Monday night in Kentish Town was rather excellent. All three bands really delivered, and the packed out O2 Forum felt pretty electric from the off. Given that power metal has not always been the most popular genre here in the UK, it was good seeing such a bill playing to a decent crowd. A headline Beast in Black show had been a long-time coming really and it feels good to have finally ticked that box - with many more to follow I hope, alongside what is promising to be a strong fourth album.

Tortured Demon - Bristol Review

It feels like a while since I last did three gigs in three days. There have been plenty of two-in-two of late, but three-in-three feels like something that I have not done for a little while. I have already managed to cover the first of the three, as I squeezed writing my review of Wishbone Ash's local Plymouth show into Sunday morning, before leaving for Bristol, but I am now back from my travels - so will be able to get to the other two. My coverage of Beast in Black's excellent London show will follow tomorrow, but today I will be covering Sunday evening's trip to Bristol - to take in something altogether more humble. Over the past couple of years, I have been following the Manchester-based young metal band Tortured Demon. I had not heard of them before they announced a show in Plymouth as part of their 2024 tour, and I decided to check them out. I liked what I heard, which was essentially a thrashier take on early Trivium without the clean vocals, and I really enjoyed seeing the band live not long after. Since then I have bought both of the band's albums, with 2023's Rise of the Lifeless being especially good, and I saw them live again last year - also in Plymouth. Following some busy touring years, the band have largely been working on their third album this year - and it was recently announced that they had signed to BLKIIBLK Records, a new metal subsidiary of Frontiers Records. I think that album number three is now fully recorded, as the lead single Apocalypse was recently released, so a few months ago the band announced their latest tour - which seemed a bit of step-up from previous ones in terms of venues played. I have a feeling that the tour was perhaps supposed to be the tour for album number three but, for whatever reason, it was not ready. The band did say from the stage that the business side of being signed is taking a little while to fall into place, but a young band like Tortured Demon need to get out and play as often as they can - so, after a relatively quiet year publicly, another tour is certainly no bad thing, especially given the slightly larger venues opted for this time. Sadly, though, this meant no Plymouth show. The 2024 show in Plymouth was quite well attended, but the one last year felt somewhat sparse - but Bristol was chosen to represent the South West this time, with a show at the Exchange duly booked. Given that I already had the Monday off to head up to London, going to Bristol on the Sunday made sense. I would have likely not made the effort had it required more time off work, as that would not likely have been possible, but as the show tied into existing plans it seemed silly not to take advantage of the situation. It also meant a return to the Exchange only a couple of weeks after my last visit. Tortured Demon were never going to live up to the majesty of Myrath, but the Exchange seemed a fitting place for a night of extreme metal. It is quite a grubby place overall, but the sound is generally pretty good there - and have had some pretty memorable nights there over the years despite considering it one of the lesser Bristol venues. For a Sunday, and given that the band had only played in Bristol once before, the turnout was decent - but I would have expected a few more given the low ticket price and the fact that there is a bit of hype around the band. Tortured Demon always seem quite down to earth and grateful that anyone turns up - but I thought that a few more Bristol metalheads could have made the effort.

There were three support acts before Tortured Demon's set. Their sets were all quite short, so I will keep my comments on each fairly brief. I do find it a bit frustrating that extreme metal bills tend to be so much bigger than those of most other metal genres. I would rather have one or two really quality support acts than a long bill that feels padded out for the sake of it. This probably says more about my overall views on a lot of extreme metal than anything else in fairness, but less is sometimes more. The local crossover thrash band Martyrs Saint opened up the show, and played for around half an hour. The first two bands on the bill had quite muddy sound mixes in my opinion, and there were not too many people in attendance during Martyrs Saint's set. Some of their riffing was pretty good, and there was some flashy traditional metal soloing, too, but I found the songs a little meandering. Many seemed to end randomly without much overall thought as to arrangement, whereas others seemed like collections of riffs and ideas rather than coherent songs. Vocally, the band were strong at times - but they felt a bit under-rehearsed at others, although it likely did not help that the stage was crammed with gear leaving the supports barely any room to move. I think that there is certainly some potential in the band, with the lead guitarist in particular standing out, but, at the moment, I think that Martyrs Saint still have quite a bit to work on.

The other two support acts were part of the touring package, with Denmark's Pustulant Flesh next up. True death metal is rarely my thing, and I did not really enjoy Pustulant Flesh's set. It did not help that their live sound mix was not all that great, with the muddy sound continuing and the vocals being somewhat buried, but even with that in mind there was nothing to grab me. I did not find that any of the riffs stuck with me at all, and thinking back now there really is not much I can say about the band. It was dirgy, typical death metal but without any of the hooks or riffs that make the best death metal really shine. As such, there was really nothing that interested me - and I found the band really rather boring. There were a few more in the room by this point, and some mosh pits did break out, but, for me, there was nothing to enjoy and I was glad when Pustulant Flesh's set ended.

The final support act was Unburier, a technical death metal band that I had seen before - once opening for Crypta and once again with Tortured Demon. Whilst I have never sat down and listened to the band at home, I largely enjoyed them when I saw them before - and that was essentially the case this time, too. The sound mix was much better for them, which was good as it allowed the nuances of their sound to shine through a bit more. They are a band built around riffs, and there were plenty of good ones throughout their set - with complex, progressive arrangements filling out their set, whilst the solos were full of speed and melody. The interlocking guitar riffing and the dual vocal approach worked well, with the band's songs full of interesting twists and turns without being too long - whilst the rhythm section could well have been the best of the night. Some of the drum grooves and patterns were excellent - whilst the fretless bass playing really was a cut above just about everyone else on the bill. Given that I have seen Unburier live three times now, I really should give them a bit more attention. I enjoy death metal that is interesting, and I think that it is fair to say that, with their progressive flair, Unburier's music is very much that. They are a strong live band, who seem to be able to pull off their complex songs with ease - and they capped off an iffy group of support bands nicely.

The changeovers were pretty quick, typically about 15 minutes, so there was not too much hanging around before the main event. The opening bands had all had around half an hour, but Tortured Demon had a full hour - and filled their time with 12 songs. Songs from their two existing albums clearly made up the bulk of the set, but there were also four new numbers played from their upcoming album - including the aforementioned Apocalypse. The new material generally filled the middle portion of the set, though, with older songs kicking things off. Taking the stage to an atmospheric version of its chorus, Conflict of Interest kicked things off - with Virtual Death following. Whilst Unburier are likely all better musicians, Tortured Demon were easily the songsmiths of the night. Even lacking strong clean vocals, many of the band's songs remains anthemic - especially those from album two. There were some strong choruses on show, them, whilst Jacob Parkinson (vocals/guitar) was in fine voice. I generally find the band to be quite accessible - and their live sound mix was pretty good, although Rory Marsland-Smith (guitar) was a bit quiet at times. This meant that some of the guitar leads and melodies were not as powerful as they should be, but the core riffing and vocal power throughout was strong. As mentioned before, there was a fairly decent crowd in by this point, and there was a good vibe in the room throughout. There were plenty of mosh pits throughout, and it was good to see a young band really commanding the room. A few more bodies throughout the door would have been welcome, but there was still an energy in the room - with lengthier numbers like The Invasion keeping everyone's attention. I generally enjoyed the new songs, but it is often hard to judge so much new material in one go - especially now in retrospect having since attended another gig. I had heard Apocalypse beforehand, so I was somewhat familiar with the thrashy piece, but I think the other new number that stood out the most was State Your Intentions - which felt a bit more groovy and with some chunky mid-paced riffing and a bit more of a modern sound that the band have not really exhibited before. There was a subtle difference to most of the new material, too, which shows that the band are still progressing and trying new things - which is always good to see. Hearing the new material certainly piqued my interest for album number three - and I am looking forward to hearing it when it drops, likely next year. With most of the new material out of the way, the rest of the set was largely old favourite. Global Threat contains one of the band's best choruses, and it sat nicely after a suite of three new cuts - whilst the older Oppressed was a lot of fun. The band took some time after it, too, to wish a happy birthday to one of their friends - which the whole crowd got involved with. By this point, though, there was not much time left - and it was left to the two title tracks from their two albums to wrap things up. In Desperation's Grip always works well live, but Rise of the Lifeless is one of my favourite Tortured Demon songs - and it worked really well as a closing statement. The setlist was:

Conflict of Interest

Virtual Death

Disfavour

The Invasion

Apocalypse

State Your Intentions

Tear Your World Apart

Global Threat

Oppressed

In Hatred Alone

In Desperation's Grip

An Empire Condemned

Rise of the Lifeless

In terms of sound mix and performance, this was likely the strongest Tortured Demon's strongest showing yet that I have witnessed - and it was nice to see them in a bigger venue than The Junction in Plymouth. Tortured Demon are a band that are slowly rising through the ranks, and have managed to get a lot of good work done as an unsigned act with little weight behind them. With album number three on the way, via a label, hopefully this will be the kick that the band need to move up to the next level.

Wishbone Ash - Plymouth Review

It has been nice over the past couple of weekends to get to some shows more locally. Travelling is fun, but it can often be tiring - and if I looked back and worked out how much of my free time I have spent sitting on trains it would probably be quite shocking. I cannot see myself slowing down, though, especially as I already have quite a lot planned for next year - but I certainly would not say no to having a few more local options. As such, any band that makes the effort to come down to the South West should be rewarded - especially those that come all the way to Plymouth. For a city of Plymouth's size, it has punched well below its weight for many years when it comes to live music. The lack of motorway connections and an airport likely does not help - but Plymouth often used to do pretty well, with bands regularly still making their way down here until around the mid-2000s. The Plymouth Arena, which is criminally underused by touring bands, was actually busy when it opened in the 1990s - but is now, largely, just a place for comedians and spoken word-type events. I will be seeing the latest tour of Jeff Wayne's The War of the Worlds there next week, which I likely will not cover here as it will not be a gig in the traditional sense, but it will only be my second visit there of the year - which is likely far fewer times than if I lived near a venue of an equivalent size elsewhere. People are trying in Plymouth, though. There are attempts to restore and reopen two of the city's old cinemas, partly as music venues, and The Depo seems to be upping its game when it comes to live music - having largely operated as a nightclub up to this point. Additionally, and whilst it has not taken the city by storm, The Quad Theatre at Marjon is also trying to do its bit. Again, it largely seems to be the home of comedians - but a handful of bands have taken to its stage over the past couple of years. I first went to the university venue around this time last year, when I caught the Graham Bonnet Band playing to a fairly healthy crowd. Whilst possibly not the most ideal late night venue given that it is out of time and essentially needs to be driven to, The Quad Theatre has the potential to become a decent fixture of the city's live music scene. The overall facilities seem pretty good - and a mixture of standing and seating areas can be configured differently depending on the needs of the night. I made my second visit to the venue last night, as the legendary British rockers Wishbone Ash brought their latest lengthy UK tour to a close in the city. In recent times, Plymouth has not been a regular haunt for Wishbone Ash. I remember them playing at The Hub around a decade ago, which I should have gone to really, but generally their South West venue of choice has been the Phoenix in Exeter. I have been a casual fan of Wishbone Ash for many years, but last night was my first time seeing them properly. I definitely saw a couple of songs of their set at one of the Cambridge Rock Festivals many years ago, but I did not stick around for whatever reason - and over the past few years I have become more of a fan. I caught former member Martin Turner live in Tavistock a few years ago, whom I enjoyed, and I had been wanting to see the band live since - but I did not consider myself enough of a fan to travel to Exeter. When I saw that a Plymouth date was included this year, though, I snapped up a ticket - and started to try and better familiarise myself with the band's lengthy catalogue.

Given the apparent format of the rest of the tour, I was expecting an early start and an early finish - which would have been welcome before a busy weekend. That was not to be the case, though, as the Plymouth show included a support act - with the local Bad Knees Blues Band playing a few numbers before Wishbone Ash took to the stage. I have made it clear over the years that the blues is not my favourite genre. I have become much more appreciative of it over the years, but one of the reasons that I have often struggled with it is that it tends to be the go-to of essentially every average pub band going. As much as I used to enjoy the aforementioned Cambridge Rock Festivals, they were prone to including a few too many pub-level blues bands on their bills - so bands like the Bad Knees Blues Band I have experienced many times over. They certainly were not awful, but I was not expecting them to be there - and I just did not need to sit through half an hour or so of pretty average blues before Wishbone Ash's set. Some of the guitar playing was pretty good, especially the slide work, but vocally I thought the band were quite weak - and they were a bit sloppy at times, too, especially the drummer. It did not help that they were all crammed together at one side of the stage, as it looked like they were constantly getting in each other's way - which made me think that they were certainly an afterthought and nothing to do with Wishbone Ash. The promoter had likely insisted on a support act, and given that someone (who maybe even was the promoter) awkwardly took to the stage to introduce both them and Wishbone Ash, and tried and sell more tickets to a Dr. Feelgood show miles away in Wiltshire next year which also featured the Bad Knees Blues Band, I imagine they were told to stay away from any of the main band's gear and get off as quickly as possible. They seemed an unnecessary addition to a show that had seemingly not had a support act on its other tour stops - and the decent-sized crowd did not seem all that enthused, either, with only fairly muted applause offered throughout.

Thankfully, it was not too long before Wishbone Ash took to the stage to show everyone how it should be done. The band do have a bluesy edge sometimes, but Wishbone Ash's sound encompasses a lot of different styles - which is likely why they never made it bigger, given they were pretty consistent line-up and release-wise in the 1970s during their heyday. Only Andy Powell (vocals/guitar) remains from those days, though, and he is 76 now - but Bob Skeat (bass guitar/vocals) has been in the band for almost 30 years at this point; whilst new drummer Windsor McGilvray only joined this year. Many musicians have come and gone from Wishbone Ash over the years, but the current line-up delivered last night - playing a 13-song set that touched on a number of different eras. Knowing that most of those who go and see them will have done so many times, Wishbone Ash seem to shake things up between tours - pulling out different deep cuts to play alongside some more famous songs. The 1980s instrumental In the Skin kicked things off, with Powell and fellow guitarist Mark Abrahams trading bluesy and fluid guitar leads and solos back and forth - with the latter also including plenty of slide in his playing. It was an upbeat and intricate way to kick things off, before the somewhat more well-known You See Red was the first vocal-led song of the night. Vocally, the band are not the strongest these days - but then again they never had a Robert Plant nor an Ian Gillan in their ranks. Turner was likely the strongest, but Powell now does a decent job - helped out by Skeat and McGilvray harmonising with him. The focus throughout the night was on Powell and Abrahams' guitar playing, though, with most of the songs stretched out to include additional soloing and jamming. This was certainly the case with the late 1970s title track Front Page News, which was a real feast of guitar soloing, but perhaps the highlight of the set's first set was a suite of songs from 1972's Argus - a truly classic album. Personal favourite The King Will Come kicked off the three-song suite, with Abraham's nailing the classic lead guitar melodies and lengthy solo - before a more plaintive Throw Down the Sword allowed for a bit more of a laid back feel. This section was closed out by Sometime World, a song which showcased the band's somewhat progressive leanings from the 1970s - with some wordless vocal melodies that the crowd helped out with. The crowd was certainly not boisterous, given it was an all-seated gig, but there were clearly a lot of long-time fans in attendance  - and there was a good vibe in the room throughout. Dispelling with the mid-set break that the band have been taking throughout the tour, it was then time for some deeper cuts from relatively more recent times. Both the poppier Enigma and a stretched out version of In Crisis came from the 2000s - but perhaps the highlight of this section was the lengthy Tales of the Wise, with its delicate vocals and lengthy guitar showcases. Some of the best twin guitar harmonies came during this song, with both Powell and Abrahams getting plenty of time to showcase their playing. It was the last deep cut of the night, too, with the songs that followed all being pretty well-known. One last trip was taken to Argus for the bouncy single Blowin' Free, before a gargantuan Phoenix rounded out the main set - with plenty more guitar soloing and even a bit of a drum showcase for McGilvray. There was time for one more, though, with the chugging, boogie blues rock of Jail Bait allowing for a bit of a rock out before the night came to a close. The setlist was:

In the Skin

You See Red

Front Page News

Lifeline

The King Will Come

Throw Down the Sword

Sometime World

Enigma

In Crisis

Tales of the Wise

Blowin' Free

Phoenix

-

Jail Bait

Given how long I have been aware of Wishbone Ash, it seems to fitting to have finally seen them live properly. They will never be one of my favourite bands, but I like quite a lot of what they have put out over the years - and it is great that they remain a busy live act. They have their place in rock history for a reason, and a decent-sized Plymouth crowd saw last night that, even so many years after their heyday, they can still deliver.

Velveteen Queen's 'The Greater Good' - Album Review

I have often said on this blog that so much great new hard rock and metal comes from Scandinavia - especially Sweden and Finland. Whilst a few bands came from that part of the world during the 1970s and 1980s, with Europe and all things King Diamond related perhaps the best examples, the Scandinavian countries were not known for their rich rock and metal scenes back in the day - something which has changed significantly in more recent years. A not insignificant chunk of my music collection comes from Scandinavia these days, with symphonic, power, and progressive metal perhaps dominating. Scandinavia has also been a fruitful breeding ground for all things more melodic, too, with a hair/sleaze metal revival kicking off 20 or so years ago. That scene, driven by bands like Hardcore Superstar, Crashdïet, and Reckless Love, has certainly had its peak - but many of the bands from that era are still operating and are still popular; and I am looking forward to seeing Crashdïet live next month. Every so often, though, another band appears from Scandinavia looking as if they have just flown in from the 1980s Sunset Strip - and the latest to catch my attention are Sweden's Velveteen Queen. There is relatively limited information on the band that I can easily find online, but it seems that the five-piece were formed in 2022 - so have only been operating for four years. Despite this, though, they seem to have been pretty busy. 2023 saw the release of their debut EP The Theater Sessions, with their debut album Consequence of the City dropping the following year - which included three of the EP's four songs. I am not familiar with either of these releases, and neither seem to be especially easy to track down here in the UK, but I started hearing a bit about the band a few months ago - when news of their upcoming second album The Greater Good broke. I had not heard of the band before, but their image and the comparisons being made to bands like Guns N' Roses and Skid Row certainly piqued my interest. I checked out one of the advance singles, I cannot remember which, and enjoyed it - so decided to pre-order The Greater Good, which has been released through a bigger label with proper distribution, and wait for it to arrive. Whilst this time of year is typically very busy for new releases, and 2026 seems to be no different, I have been trying to get to as many new albums as I can - and I have been enjoying The Greater Good over the past month or so. I have to say that, from the off, the comparisons made to Guns N' Roses are very accurate. Whilst frontman Samuel Nilsson does not really sound like Axl Rose, outside of a few moments, the band are clearly influenced by the bluesy strut of Slash and the overall swing that Guns N' Roses had in their heyday. That sound essentially fuels the 11 songs here, with balls-out guitar riffing from Lukas Axx and Noah Mårdh - and drumming from Isac Borg that has just enough looseness to allow that vibe to shine through. Nilsson, Axx, Mårdh, and Borg are all original members of the band - with Consequence of the City seemingly recorded as a four-piece, and I cannot find out online who played bass on it. It seems that original bassist Elias Knutsson was out of the band by the time the debut came around - but The Greater Good sees the debut of the band's current bassist Vilmer Fall, who rounds out the five-piece. The band seem largely responsible for everything here, with Nilsson also playing some piano throughout - although there are a couple of guests on the album, helping out with both piano and backing vocals.

The album was produced by the band alongside Magnus Ax (Swedish Erotica), Axx's father who also collaborated with Motörhead, and Søren Andersen (Kick the Kangaroo; Mike Tramp & The Rock 'n' Roll Circuz; Glenn Hughes). The album is really well produced and the band sound powerful - but there remains a rawness to the overall sound which is necessary for music like this to shine. This is a pretty short album, too, at just over 40 minutes, which is perfect for a sound like this. Kicking off with Too Far Gone, a busy, bluesy riff gets things underway - creating something of a strange, hypnotic feel as some crunchy rhythms join in, only for the riff to change to something more barrelling once the band as a whole crash in. The riffing throughout this album is pretty strong. Axx is the lead player, but Mårdh should also receive credit for his tight rhythms and riffing - which allow Axx to often shine. The verses are barrelling, showcasing a pretty fast-paced approach, whilst the chorus slows things down somewhat - with a heavier version of the opening riff bubbling away beneath the snarling vocals of Nilsson. A screaming, bluesy solo from Axx later builds on some of the melodies heard elsewhere - whilst a percussion-led breakdown is pure Guns N' Roses when it comes to groove. There are hooks aplenty here, and the mix of a strong chorus and plenty of riffing makes the opening really tick. The title track follows, which is one of the bigger sounding pieces here. Peter Keys (Lynyrd Skynyrd) plays the piano throughout - and his bluesy playing is heard throughout, kicking things off with a swaggering piano-led intro that really reminds me of a Use Your Illusion era Guns N' Roses deep cut I cannot quite place my finger on. The song is more of a mid-paced effort compared to the opening number, but there is still a sleazy vibe - as well as something of an anthemic vibe. Aerosmith influences are also on display here, although the guitar playing is generally more high octane - with bluesy interlocking riffs swirling around Keys' ever-present piano playing. The piano gives the song an organic drive, whilst Borg's drumming swings especially hard here - and there is a hooky strut to the mid-paced chorus, which Nilsson nails. The guitar solo is similarly bluesy, but it is more fittingly restrained than the previous effort - which suits the song's mid-paced groove and overall approach nicely. There is a maturity to the song that allows the album to exhibit some variety. Talk or Walk opens with a talk box riff, before a somewhat punky power chord pattern takes over - creating a simple hook before Nilsson starts to sing. That punk vibe remains throughout, and the overall arrangement is pretty simple. The verses are bass-driven, with the guitars often dropping away to add occasional leads here and there - kicking back in for a snappy chorus which utilises the same power chord pattern as the song's intro. This strident guitar riff works nicely as the backing for Nilsson's venomous chorus vocals - whilst the talk box from the song's intro returns during a brief guitar solo. None of the songs here are especially involved, but this is one of the least involved here - allowing the power of the riff to really shine. Adrenaline may have been the song I heard before pre-ordering the album, with the up-tempo single one of the best cuts here. A circular, bluesy riff backs the verses, allowing for that classic swing to settle in nicely, whilst the punch of Borg's drums really shakes the speakers. Juddering riffs elsewhere and an urgency to the verse vocals makes the song sound exciting - but it is the chorus where things shine the brightest. There are hooks throughout the album, but the chorus hooks here may well be the strongest - with the chorus a true anthemic moment made for the stage. A later percussive version only showcases this further.

Can't Go Back in Time feels a bit heavier overall, kicking off with a more metallic riff that fades into view - only for it soon to be doubled when the drums kick in. I said that Nilsson rarely sounds like Rose, but this is one song where he does - as his lower register approach reminds me of the way Rose sings songs like It's So Easy. There are no high-pitched screams here, but the deep delivery is quite Rose-esque at times - and Nilsson's snarl really suits the heavier nature of the song, with the headbanging verses moving along at a groovy mid-pace. The chorus feels a bit brighter, with Nilsson singing in his more typical range - with a little more of a cinematic guitar approach, allowing the song to have a bit of a mix of light and shade. This is a song that has grown on me quite a bit since first hearing the album - and it has become a bit of a favourite over the past month or so. Chains slows things down considerably, opening with some stark acoustic guitars that Nilsson starts to sing over. As much as I like this album, I am not convinced that ballads are Velveteen Queen's strongest suit. In my view, this is one of the weakest efforts here. Nilsson sings the song well, but the guitars in the background sound quite ham-fisted. Both Axx and Mårdh are clearly great guitarists, but they seem to lack the subtlety required for stark acoustic parts. Funnily enough, there is a section later in the song where they do exercise a bit of restraint, but the way the acoustic guitars are attacked throughout the song is quite distracting - and some more delicate playing throughout would have definitely improved things in my view, and would have been a much better backing for what is quite a decent vocal performance. It Ain't Over gets the band back to doing something more typical of their core sound. The acoustic guitars are thankfully cast aside here, with the band instead back to rocking out - with a descending, bluesy riff opening things up at pace. This is quite an energetic song overall, and it is another with some punky influences here and there. Fall's bass drives the verses, with the guitars somewhat dropping away again - although mini versions of the opening riff and the occasional lead at colour. Despite this punk drive during the verses, there remains a smoothness throughout thanks to a slightly poppier vocal delivery from Nilsson - which he expands on during the chorus. There is a slight AOR edge to the chorus in my view, with more of an overtly melodic feel - even if the bluesy base remains thanks to the guitar riffing. This is a song all about hooks, then, and it is another that has stuck with me quite considerably since first hearing the album. Liar is another that opens with a heavier riff - with police sirens also filling the speakers and creating a bit of a discordant sound. In many ways, this song feels like a bit of a sibling piece to Can't Go Back in Time. The tone of the riffing is quite similar, which gives the song a real kick from the off - whilst Nilsson often again utilises the lower end of his register to fit in with the overall heaviness. Fall gets in on the act this time, though, with a strong bass presence throughout that only adds to the heaviness. He powers through the verses nicely, adding plenty of weight, whilst the chorus is suitably more melodic - with a lighter tone, urgent, snappy vocals, and a busy guitar underpinning. A bridge section sees Nilsson doing his best Rose impression again briefly, which then launches into another tasty guitar solo. On an album of largely strong cuts, this is another overall highlight for me - and I like the darker edge to the riffing that Velveteen Queen sometimes come up with to keep things interesting.

Best of the Best opens with possibly the most Slash-like riff on the album. Slash has such an identifiable style that when people ae trying to ape him it is very obvious - and that is certainly the case here. The Slash worship is no bad thing, though, as Velveteen Queen are very good at that kind of high-octane, bluesy riffing - but sadly the rest of the song does not really live up to the promise of the riff. Nilsson's vocal melodies are generally excellent throughout this album - but they feel a bit awkward this time around. The chorus feels a bit forced in terms of the overall melodies and some call-and-response vocals - and there are some sections throughout the song where it almost feels as if the melodies and rhythm of the vocals do not really fit with the main song. Despite some strong riffing, then, the song is one of the weaker cuts here in my view. It lacks the anthemic hooks that the band are usually so good at to make the song stick - and the song is one overall that probably could have done with a bit more refinement in the studio. The band return to ballad mode for Sorry. It is not a song that totally changes my view on Velveteen Queen as a writer of ballads, but it is certainly a better song overall than Chains. It helps that the acoustic guitars are not the most prominent instrument this time. They are there in the background, being quietly strummed, but the main guitar melodies come from an electric guitar - so there is certainly more subtlety on show this time. This allows a more emotive sound to settle in, especially thanks to some subtle keyboards in the background and a slow-burning bluesy solo, whilst Nilsson does a decent job vocally. The chorus is quite memorable, and I do like the guitar solo section - but Velveteen Queen really are a band that just need to rock out. I know that bands love their ballads and getting all emotional, but not all are built for it - and, on the evidence of the two ballads here, I would prefer it if Velveteen Queen just focused on what they do best going forward. If they do feel the need to slow things down again, then more songs like the brooding title track would certainly be welcome. The album then comes to a close with Try (To Believe Me), a swinging, mid-paced hard rocker that is very much within the band's wheelhouse. It might not be one of the best examples of this sound here, especially as some of the chord progressions have a bit of an unintentional Status Quo feel to them, and the riffing is perhaps less clever here than it sometimes is, but there remains something pleasing about the overall strut and the somewhat more primal, in-your-face feel of some of the riffing and grooves. The song certainly feels more stripped back and primitive, until the strangely atmospheric bridge section that is, but the harder rock moments feel more deliberate following the previous ballad - and the song does allow some crunch and rawness to take over as the album closes out. There is a case to be made that the album does run out of steam towards the end, with the final three songs being on the weaker side, but the best material here is very enjoyable and of a high quality. I really like the band's overall sound and attitude - and I imagine that they would be excellent live. Hopefully they make it over to the UK at some point so that I can catch them - and I will try and track down copies of their earlier work, too. There is room for improvement here, such as losing the ballads and just tightening things up here and there, but overall the band is on a strong trajectory in my view - and I look forward to see where things go from here.

The album was released on 18th September 2026 via Silver Lining Music. Below is the band's promotional video for Adrenaline.

Haken's 'In a Fever Dream' - EP Review

A band's first album following a quite significant line-up shift often ends up being an important release in their catalogue - especially if the band is not one known for line-up instability. Will the new-look band reassure the fans with a new release that essentially gives them what they want, showing that the change has not significantly shifted the band's focus or core sound, or will the band instead take the change as an opportunity to branch out - entering a new era with a fresh sound and approach. Both approaches can succeed or fail, depending on the quality of the songwriting, and I can point to plenty of examples of both in my vast collection. In truth, though, I am not sure which approach the UK-based progressive metal band Haken have taken on their latest release In a Fever Dream. Firstly, In a Fever Dream is an EP, only their second EP following 2014's Restoration, so the band's fairly large fanbase are yet to be hit by a full album following this year's line-up changes; but, secondly, In a Fever Dream is neither a safe-sounding Haken effort that will hit fans in the warm and fuzzies, nor is it a complete reinvention. The band have somewhat tried to take both roads here, which I think contributes to the pretty varied reviews the EP has received. Some really love it, whilst others really do not - and there seem to be quite a few who are a bit confused as to what to think. Whilst I am certainly no Haken expert, this diversity of views has been quite rare throughout the band's catalogue. In my understanding, the Haken fanbase have largely been very accepting of the band's twists and turns over the years. Fans will likely have their favourites, but there is no album in the band's catalogue that is universally considered a bit of a weak link - let alone something outright awful. As such, In a Fever Dream is likely the band's first release to be met with such a mix of opinions - and I have been somewhat unsure myself what to think. My history with Haken is a bit patchy. I really enjoyed 2011's Visions around the time it came out, and ended up seeing the band play it live in full the following year. I dropped off the Haken train for quite some time not long after, though, and did not get back on board until 2023's Fauna (which I reviewed here). I have since caught up, and pretty much like the whole catalogue, but I do not have that lengthy history that others have - so I still consider myself as coming at the band pretty fresh. I will be seeing them live for a second time next year, which I am looking forward to, and, judging by their recent setlists, In a Fever Dream will feature heavily. To address the referenced changes in the band, In a Fever Dream is the band's first 'proper' release (not including their much-loved 2008 demo Enter the 5th Dimension) to not include guitarist Charlie Griffiths and the first since 2013's The Mountain not to feature bassist Conner Green. At this stage, neither musician has been replaced. Bassist Freddie Draper is currently touring with the band, but he played no part in In a Fever Dream, whilst band leader Richard Henshall is currently operating as a lone guitarist. As such, the EP was put together as a four-piece, with Henshall joined by frontman Ross Jennings, keyboard player Peter Jones, and drummer Raymond Hearne - all of whom are original members of the band, even if Jones left after the release of Enter the 5th Dimension and did not return until 2022. Interestingly, the band also worked with an outside producer for the first time here, too: George Lever - who has previously worked with bands like Sleep Token and Heart of a Coward. The bass is handled throughout by Bryan Beller (Steve Vai; MullMuzzler; James LaBrie; The Aristocrats; Dethklok; Joe Satriani) and Adam Getgood (Red Seas Fire; Periphery), who play on two songs each.

Sound-wise, then, the EP certainly sounds like Haken - but it is more atmospheric than is typical for the band. Jones' keyboards are generally more prominent in the mix, and the overall approach is much less riffy. Haken have always been a very modern prog metal band, though, so the approach taken here is quite typical of the wider scene - and I never agreed with the comparisons made between Haken and Dream Theater, as the two sound nothing alike save for maybe the odd riff here and there. Those who prefer the band's heavier side may well be disappointed, but those who enjoy soundscapes, Jennings' heartfelt vocals, and a bit of a less-is-more approach to prog metal will likely find things to enjoy here. The EP kicks off with its title track which, at just over seven minutes, is one of the longest cuts here. Haken have generally gone for shorter songs this time, but the EP is bookended by seven minute-plus numbers. A hypnotic clean guitar melody opens things up, and Jennings soon starts to sing over the top. Given the sparser approach to the arrangements here, Jennings possibly benefits overall. His voice always has plenty of room to breathe - and his higher-pitched delivery sounds great early on, whilst synths start to shimmer away in the background and some distant, programmed drums add an electronic depth. Electronics and synths play a big part of the sound throughout this EP, as the quieter moments of this song can really attest - but when Henshall launches into an angular riff, Hearne's drums kick in and the heavier sound that fans will be used to establishes itself for a time. The song moves back and forth between heavier sections and sparser moments - but, even when it riffs away sometimes, the lone guitar of Henshall is often more in the background, with Jones' synths taking the centre stage. As such, this EP really feels like the domain of Jennings and Jones. Their performances stand out the most, but when a tech metal riff cuts through the mix the power of Henshall's guitar playing is forced back into focus - and as the song progresses things certainly get heavier. Jennings even experiments with some brief moments of harsh vocals, something which I do not recall him doing before - and there is section later in the song where he does so against a very TesseracT-esque riff that judders with some chaotic Hearne drumming nicely. There is a lot going on throughout the song, then, despite the lack of showcase instrumental sections - all wrapped around a floaty, atmospheric chorus that recalls Anathema somewhat. Delirium follows, upping the heaviness pretty much from the off. A grinding guitar riff kicks the song off, backed by Gotgood's dry-sounding bass and some dancing synths. Whilst the previous song had heavier moments, it was largely characterised by atmospherics. This song is much more hard-driving, then, recalling some of the heavier moments of the band's more recent albums. Henshall is much more assertive here, his riffing largely ever-present - whilst the grind of the bass and the lairy edge of the synths give the song a discordant and rougher edge at times. Hearne is busier, laying into his double bass drums at times for some tough, jazzy metal beats - whilst Jennings leaves the more emotive delivery of the previous song behind for something much more powerful. He really soars during the song's chorus, which is built around the opening riff and some off-kilter drumming - whilst synths pulse away in quite a loud and abrasive manner throughout essentially the whole song. Things can feel a bit chaotic at times, then, but the song largely hangs together - and it will likely work really well live.

Eclipsed by You is the only song to not feature any traditional bass playing - with Jones instead covering the basslines on his synths. At first, though, the song feels very stripped back and mellow. Henshall's guitar melodies are quite up-tempo, but his tone is soft - and Jennings' early vocals are easy on the ear, despite some vocal effects coming and going. Some sombre piano melodies being added also give the impression that the track is going to be a soundscape-like ballad, but there is something hypnotic going on that belies something greater - and soon a synth bassline comes in, alongside some electronic drums, and Jennings starts to sing with a lot more vocal effects. The overall tone unravels at this point, then, and it is not long before some pretty ravey synths take over. Early on the synths seem quite floaty, against some subtle programmed drums - but when Hearne kicks things up a gear drumming-wise there is a real energy to the song, with synth bass and busy synths seeing the song out as Jennings continues to sing. Bleeding Sky opens in a similar manner, although the guitar melodies are much more slow moving this time - and the vocal effects on Jennings' voice are more prominent. Unlike the previous song, though, this one gets more organic as it moves along. At one point it seems as if things might take a similar route as previously - but the guitars become more prominent later on, whilst Jennings' voice becomes more full bodied. A bass bridge then allows the song to transition to its next section - which sees a somewhat heavier riff kick in, and the song largely proceeds from this point as a mid-paced, chunky modern prog metal cut, albeit with synths somewhat similar to that from the previous number. The song is a bit all over the place, then, but it does just about hang together - which is largely a theme of this EP overall. The closing section of the song is certainly much heavier, too, with more double bass drumming and organic riffing - even if Jennings' complex vocal arrangements ensure that a floaty sound often associated with Haken remains. The EP then comes to a close with Lotus, the other seven minute-plus song here. It is my understanding that the title track and Lotus started life as one longer song, but it was split in two to bookend the EP - and stick to the theme of shorter compositions. It is another that starts slowly with mournful vocals and piano melodies - before a precise guitar riff kicks in and the song becomes bigger. Mid-paced drumming and melodic bass playing from Beller come and go, with tougher, groovy sections sitting nicely side by side with atmospheric and melodic moments. Jennings impresses as always - with some of his vocal melodies calling back to the title track, giving away that the two songs were once one. The occasional use of harsh vocals is another link, and there are some cinematic, riff-led sections here over which Jennings screams - only for the pace to pick up once he starts to sing clean again. The arrangement is interesting, then, and a calm piano break never feels too far away, with much of the latter part of the song built around such - and it grows from there. Complex vocal arrangements and a rather slow groove characterise the closing sections of Lotus, then, with the previous heaviness stripped away - allowing a mournful guitar melody akin to how the EP started to bring the latest Haken platter to a close. It is unclear yet how representative In a Fever Dream is of where Haken see themselves going forward. The EP has grown on me since I first heard it, and listening to it again whilst writing this review I have enjoyed it more again - but it will be a shame if some of the knottiness and driving riffing of the band's core sound is largely left in the past. The EP is not as different as some are making out, though, and overall there is quality here - it is just perhaps showcased in a bit of a different way.

The EP was released on 18th September 2026 via InsideOut Music. Below is the band's promotional video for Delirium.

Anthrax's 'Cursum Perficio' - Album Review

Whilst I have not reviewed a huge amount of thrash so far this year, the thrash that I have enjoyed in 2026 has been of a very high standard. I know that Megadeth's latest self-titled effort (which I reviewed here) was not universally loved, but I really enjoyed it - and I have also reviewed strong efforts from Kreator, Exodus, and Flotsam and Jetsam. Some thrash-adjacent bands have also received some love this year, and there is likely to be at least one more thrash review to follow before the December comes to an end. Today's piece also returns to all things thrash, and to another member of the Big 4, as the long-awaited twelfth studio album from the New York-based five-piece Anthrax was finally released last month. Whilst Anthrax have remained a busy live act over the past decade, work on this latest album seemed so sluggish that I was not convinced that any progress was actually being made - and it had gotten to the point where I had stopped paying attention to whatever any member of Anthrax said in an interview on the subject. This was a shame as the thought of a new Anthrax album should be something to look forward. Prior to last month, since the current era kicked off in 2010 when frontman Joey Belladonna returned to the band for a third stint, Anthrax had released two studio albums: the excellent Worship Music in 2011 and the almost as good For All Kings (which I reviewed here) in 2016. Whilst I like parts of the John Bush era, and love Bush in Armored Saint, Anthrax have always been at their best when Belladonna was in the band - with both Worship Music and For All Kings better than anything else they had put out since 1988's State of Euphoria. As such, they seemed to be on something of a late career renaissance, with two excellent albums in the 2010s and a packed touring schedule - but work on album number 12 always seemed slow, and after a while I just stopped caring. Over the past few years, it has become quite clear that Anthrax are one of those bands for whom new material does not come easy. Some bands are awash with songs, and could essentially record a new album at any point, but, for some, writing anything new seems like a genuinely painful activity - and I can only assume that is the case for Anthrax. For All Kings, a generally well-regarded album, should have been followed up years ago - but it took the band 10 years to do so, even when they had been saying that a new album was close to being ready for about the last six or seven years. Given some of the interviews that various band members have done recently, too, I get the impression that they likely do not talk to each other that much outside of core band activities. I think I have heard two or three different 'futures' for Anthrax over the past month or so - so Anthrax are now clearly one of those bands that is a business entity rather than a band of brothers. That is not necessarily a band thing, but it does go some way of explaining why anything new was not forthcoming for quite some time - but, last month, album number 12 finally dropped in the form of Cursum Perficio. The band's second album from the current line-up, Cursum Perficio is certainly similar in vibe to the previous two - although it does not feel as strong in my opinion - albeit slightly more experimental. It is quite frontloaded in my opinion, but there are still strong numbers throughout. Produced again by Jay Ruston, Anthrax sound powerful here - with Belladonna in fine voice and the band's typical up-tempo and bouncy take on thrash largely present and correct, with a few heavier experiments thrown in.

I was surprised to see a few Blair Daly co-writes on the album, who is more known for writing songs with alternative rock/post-grunge bands as well as pop stars - but his handful of co-writes do not significantly shift the sound of Cursum Perficio. The band have written the bulk of the material here as always - and at just over 50 minutes there is quite a bit to get stuck into. Persistence of Memory, the first track here, is an instrumental scene-setter. At just over a minute long, with dark piano and synths setting a creepy tone, the song does not really add much to the album - but it builds up nicely towards The Long Goodbye, the first proper song here. Immediately the song opens with a mid-paced, building guitar riff - the classic fat tone of guitarist Scott Ian recognisable. Percussive drumming from Charlie Benante is soon added, and the song starts to build around this riff and drum pattern - in a surprisingly understated way. I would have expected the album to roar out of the traps, but Anthrax have often had a dose of traditional heavy metal in their sound, alongside their love of the New York punk and hardcore scenes, so something more crunching and mid-paced is not out of character for the band. The mid-paced riffing is driving and groovy, whilst the drumming is punchy and full of character - which creates a strong bed for Belladonna's melodic vocals. The verses utilise this building sound, whilst the later chorus is a bit more full-bodied - although the pace and crunch remain quite similar. The song is a bit of a strange one, then, but I find it quite an effective album opener. It really allows Belladonna to shine, as he was always one of the best actual singers on the thrash scene, whilst the tight rhythmic grooves allow for a bit of a heaviness as well as an accessible overall sound. Jonathan Donais' first guitar solo on the album comes towards the end, with some high-octane shredding upping the pace somewhat, with a double bass drum backing, only for the aforementioned groove to return for a final chorus. Lead single It's for the Kids then takes over, with the band upping the pace and returning to a punky, jumpy beat that is much more typical of the core Anthrax sound. If there was more of a classic heavy metal sound throughout the previous number, then this song is much more typically thrash. Benante's drumming is snappy and well-produced, whilst the juddering guitar rhythms and ringing bass playing from Frank Bello ensure that the classic Anthrax sound is established from the off. The verses are especially punky, with the bass driving everything and the drumming providing a choppy, staccato rhythm - whilst the chorus is on the slower side, with Belladonna going for a more anthemic approach overall vocally. A powerful, mid-paced breakdown later ups the heaviness, laying down further chugging riffs and prominent bass playing - whilst gang vocals add to this crunchier vibe, before the pace is upped again and Donais rips into another shredded solo. Everybody's Got a Plan sits somewhere between the two previous numbers speed-wise. It is not as groovy as the opening cut, but the break-neck thrash of the previous number is reined in somewhat - to allow a pretty purposeful groove to settle in, built around a quite acrobatic riff that injects itself into the verses on occasion to act as punctuation between Belladonna's vocal lines. There are moments again here where the bass takes over, seemingly the most prominent instrument, but this is a much riffier piece overall - with quite a few different riffs coming and going as the song progresses. Another slower breakdown is used here for effect, and this time the slowness remains during the guitar solo - which includes lots of long-held, screaming notes and some slower moving bluesy melodies. The multitude of riffs throughout and the pace changes throughout give the song a pretty dynamic feeling overall - even if hooks remain via the vocals.

The Edge of Perfection is one of the songs here that experiments with some heavier vibes at times. Despite a quite calm opening of clean guitar melodies, the main riffy section that follows is quite black metal-coded, with very fast-picked tremolo guitar riffs and more of an extreme metal approach to drumming. I cannot recall Anthrax quite sounding like this before, but the sound evolves over the fairly lengthy intro - with discordant clean guitar melodies later thrown in, alongside some wordless vocal melodies. There is melody alongside the tougher guitar approach, then, but once Belladonna starts to sing properly a more chunky, typical riff takes over - with the verses more classically Anthrax with some powerful mid-paced grooves. There is a great headbanging vibe to the verses, with a percussive edge thanks to a few little drum flourishes, whilst the crunch gives way to the black metal adjacent riffing when the chorus kick in - which is faster overall with some expressive vocals from Belladonna. The return of the wordless vocals from the intro help to add an anthemic edge at times - and the song is a great mix of styles that sees the band doing something a bit different whilst still sounding like themselves. After four very strong songs, I find Infectious to be a bit of a step down in quality. Given its title, it is quite a plodding, mid-paced number that lacks any meaningful big hooks in my opinion. A faster song might have fit the title better, but the song as it stands is quite plodding and deliberate - with little that really jumps out melodically. Belladonna sounds great, and some of the harmonised vocal parts see him as a powerful force - but the never-changing pace and the lack of a really strong chorus let the song down for me, and mean that the vocal performance is never truly capitalised on. I do quite like the guitar solo section later on, which is a bit more restrained than usual and filled with melody - but overall the song is one of the weaker cuts here in my opinion. It might have worked better had it been shorter, but given that it barely changes up during its five minute runtime it does start to drag as it goes on. NYC 93 gets the album back on track, though, with the song being one of the thrashiest on the album up to this point. Picking up the pace again, the song is a speedster, and one that really showcases that punk influence that Anthrax have always had. The juddering riffing and bouncy bass playing keep the song ticking - whilst the power chord pattern during the verses really sticks in the brain. Whilst Belladonna may sound better with more room to breathe, he also does these faster songs well - and his rapid fire delivery during the verses is excellent, whilst the shout-along gang vocals of the chorus are sure to make the song a live staple. Unsurprisingly, the guitar solo is fast-paced, too, with the song overall retaining a high tempo throughout - making it one of the most energetic pieces here. The album's title track follows, opening with some murky clean guitars that slowly build up around some atmospherics - until a proper riff that works off the same overall melody takes over. Reining in the pace of the previous song, this track is more mid-paced overall - although there is still quite an energy thanks to the main guitar riff and a very snare-heavy drum pattern. The verses are pretty snappy, then, with the aforementioned riff driving everything - whilst the chorus slows the pace down, going for a somewhat more epic overall sound with occasional gang vocals and more of a snaking groove. It is a song that has grown on me quite a bit since first listening to the album - with the dynamic approach and clean guitar breaks helping it to stand out.

T.O.M.B. feels a bit heavier and more grinding overall. Whilst not as standout as The Edge of Perfection in terms of taking a slightly different route, there is certainly a tougher feel to this track that has more of a 1990s Pantera feel in terms of the darker guitar tones and mid-paced grooves. There is little of the band's punk influence this time, then, with the song instead largely being a pretty mid-paced number with ever-present riffing, another strong vocal performance, and a meaner overall approach. That is, though, until around half way through when things do speed up and something much more thrashy takes over. The bass becomes more prominent and there is a high-octane approach for a while - with urgent vocals and that culminates in some shredded guitar soloing. There is a dynamic approach taken here too, then, as the mix of the grinding grooves and thrashier sections does work well to create something interesting and powerful. Sticking with a heavier overall vibe, Watch It Go ups the pace to return to something more overtly thrashy. Like The Edge of Perfection, though, there is a bit of a black metal rasp to some of the riffing early on, especially in the slightly strange drum beats laid down - whilst the verses here are very off-kilter, with unusual grooves and a chug that sits just behind the beat. As such, the song seems to mix traditional thrash, extreme metal, and something a bit more progressive and left-field together. The song does not exactly sound all that technical, with the grooves being quite organic - even with the strange rhythms in mind. As such, there are no real links to the current tech metal scene - with the off-kilter nature more akin to extreme metal than anything more modern. It is a song that takes a few listens to fully appreciate, as it is a bit all over the place arrangement-wise, but there is a lot going on for those who persevere and want to enjoy something a bit different overall. The album then comes to a close with My Victory, a song that returns to a much more typical thrash sound for Anthrax - ending the album on something much more familiar overall. After a couple more slightly experimental numbers, hearing some Anthrax 101 is quite welcome - with the main riff a pretty anthemic and memorable one, with verses that are very bass-driven and built around some more very strong vocals from Belladonna. Like many classic thrash songs, the chorus sees the song slow down somewhat - with strident vocal melodies that lodge in the brain from the off a big feature, as well as some pounding drums that keep the song moving despite the slower pace. In terms of the overall arrangement, there is less here that really stands out compared to some of the other more complex numbers - but the hooks are strong and the riffing throughout is full of those classic Ian patterns of chugs. There is a bit of a false ending, too, where it seems as if the song is over - only for another riff to kick in, which leads into a mid-paced instrumental breakdown section which keeps going for a while until it fades out. Cursum Perficio may well end up being Anthrax's last album, or at least that was what one of the aforementioned contradictory interviews I recently read recently suggested, but I hope that it is not - as Anthrax still sound strong and creative here. I think the previous two albums were stronger in terms of pure songwriting, but this one feels a bit more varied and experimental - so it would be good to see more of that side of Anthrax in the future. Either way, more Anthrax is always welcome - and Cursum Perficio is an enjoyable entry in the band's canon.

The album was released on 18th September 2026 via Nuclear Blast Records. Below is the band's promotional video for It's for the Kids.

Kris Barras Band - Torquay Review

Over the past few years, since live music resumed following the pandemic, the Torquay-based singer, songwriter, and guitarist Kris Barras has become a fixture of my live music calendar. Whilst I had heard of him beforehand, due to him living fairly locally to me, it was in 2021 that I actually started paying proper attention to Barras - when I saw him opening for Black Stone Cherry in Exeter. Whilst I had already been to a few shows in 2021 before that Black Stone Cherry one, the novelty of live music being back was still providing an extra level of excitement - and Barras proved to be the right kind of support act to capitalise on that feeling. At the time, Barras was reinventing himself. Starting out as more of a blues-based rocker, a sound which characterised his first three albums, the 2021 tour was on the eve of his fourth album Death Valley Paradise (which I reviewed here) being released earlier the following year - which saw Barras moving into heavier, more modern-sounding hard rock waters. Since that Black Stone Cherry tour and the release of Death Valley Paradise, Barras has risen through the ranks somewhat - and has become a fixture of the UK live music circuit. He is no longer just a local name, then, and local-boy-done-good stories are always pleasing ones. He has been very busy ever since, too, and I have seen him live at least once every year from 2021 to now. Lengthy UK tours have become pretty common for Barras, and he has since also released two more albums - with his latest, Monsters We Made (which I reviewed here), only a couple of months old. He also released an EP last year (which I reviewed here) as a member of the band Hollow Souls - a vehicle through which Barras could return to his bluesier roots. With his solo albums and tours continuing to sell well, and with Hollow Souls in place as alternative creative outlet, all seemed rosy in Barras' world - but, sadly, he has now called time on his music career. About a month before his most recent tour, which came to a close last night in Torquay, he announced that it would be his last - and that he was stepping away from music for the foreseeable future. The main reason given seemed to be wanting to shift towards a more secure financial future for his family - which would suggest that, even though he seemed to be doing well, the numbers were just not adding up in a positive way. This just goes to show how precarious music careers can be, even for acts that seem to be doing fairly well, and it should be a concern for all live music lovers. I would not be surprised if the serious damage that he did to his voice when falling ill on tour earlier this year with Smith/Kotzen played a part in his decision, too. He mentioned that he had considered calling it a day then a few months ago, but kept going as he had Monsters We Made waiting to be released. Thoughts of hanging it all up have clearly been circulating for a while, then, but it still came as a bit of a surprise when he made the announcement a month or so ago. I already had tickets for the tour's final night in Torquay, but that show became a bit more special overnight. Barras has always included the South West in his tours, hence why I have been able to see him so often, but calling time on his career in his hometown of Torquay certainly has a poetic ring to it - and The Foundry in Torquay has seen many a Barras show over the years. It was with a mixture of excitement and sadness that I travelled to Torquay after work yesterday, then, getting to the venue just after it opened following dinner in the local Wetherspoons.

I do not think that the show was actually sold out, or at least it was not announced as such, which was a bit surprising given that his Torquay shows usually do - but perhaps that was giving some context to his decision. Despite this, though, The Foundry was busy - and it had already filled up nicely by the time the evening's sole support act 10 Years took to the stage at around 8pm. The Tennessee-based five piece played almost in darkness the whole time, with only subtle lighting giving them a slightly murky appearance, whilst their sound was an interesting mix of late 1990s/early 2000s alternative rock/metal riffing, an atmospheric, almost progressive, soundscape backing, and the strong, melodic vocals of frontman Jesse Hasek. When the band took to the stage and the first riff kicked in, I thought that they were going to be a heavier post-grunge/nu-metal band, but overall they were much more atmospheric and melodic than that. Whilst there were certainly shades of both, particularly the former, Hasek's more restrained and heartfelt vocals removed a lot of the big posturing often associated with those genres - instead allowing for something more restrained and atmospheric. Whilst the band's songs often seemed quite simple on the face of it, with memorable riffs and some pretty big choruses, there was actually a lot going on in the background at times - with interesting synth arrangements, as well as guitar melodies and layering that was a bit different from the norm. I had not heard of the band before, but they seem to have found success in their career - having been around since 1999. Last.fm shows them as having quite good scrobbling numbers, whilst their Wikipedia page is quite extensive - which you would not expect for a band with limited success. As such, they are a likely a bigger band globally than Barras - but Hasek said on stage that they had rarely been over the UK previously, which would perhaps suggest that their profile over here is not that big. Despite this, though, there seemed to be plenty in attendance who were fans of 10 Years - and there was a pretty good atmosphere in the room throughout their 45 or so minutes on stage. Whilst I had largely enjoyed some of the early numbers in the set, it was perhaps their atmospheric take on Nirvana's Heart Shaped Box that drew me in. I am not much of a Nirvana fan, but 10 Years did something quite interesting with the song arrangement-wise - and it helped the elements of their sound click into place. Some of the later songs in the set felt a bit more anthemic, too, and I did not feel like the band's set dragged - which is usually a good sign. As such, I quite enjoyed what 10 Years had to offer, even if their sound is not 100% aligned with what I generally listen to. I will certainly check them out further, though, going forward.

Around half an hour later, during which the crowd was subjected to a rather tedious nu-metal playlist, although I am sure plenty enjoyed it more than I did, the lights went down and Barras and his band took to the stage - launching into Who Needs Enemies. Band regular Josiah Manning (guitar/vocals) had missed the tour due to recently becoming a father, meaning that ex-Inglorious guitarist Danny Dela Cruz had taken his place - but with Manning also being a Devon local he made the drive up from Plymouth for this final show, meaning that the band operated as a five-piece, with both him and Dela Cruz providing guitar backing to Barras' own excellent guitar playing. Barras' regular rhythm section of Frazer Kerslake (bass guitar/vocals) and Billy Hammett (drums) rounded out the band - and for the next 80 or so minutes the five on stage delivered a strong set of many of Barras' best recent tunes, with the odd look back to the past. I had wondered if the Torquay show, being the final one, would be a bit more 'special', with maybe a longer setlist and guests, but with the exception of Manning back the show seemed the same as the others on the tour. It seemed a rather unsentimental affair, and Barras seemed very much in business-as-usual mode - crashing through the modern hard rock of both Unbreakable and Dead Horses early on. Despite his vocal injury earlier this year, he still sounded strong vocally - and his guitar playing was fiery, with plenty of solos coming thick and fast. Four songs from Monsters We Made featured in the set, too, with the more melodic Unspoken and its title track the first two to make an appearance. For me, the album is not as strong as the other more recent efforts - but it was nevertheless good to hear some of the material live. The title track in particular was a powerful moment, and it led nicely into the gang vocal chorus of Savages - which was the first big crowd participation moment of the night. Barras shed his guitar for this number, getting up-close with the crowd instead - with Dela Cruz stepping forward to take the main solo. A melodic bass intro from Kerslake, on his huge six-string bass, heralded the arrival of the more atmospheric and cinematic These Voices, whilst Devil You Know upped the heaviness - and saw Barras again prowling the stage sans his guitar, with Manning taking over the solo duties. Despite the relative lack of sentiment, there were a couple of more reflective moments. Before launching into the blues ballad Watching Over Me, dedicated as always to his late father, Barras spoken about his early days gigging Torquay and reflecting on how far he had come. His soloing during the ballad was as poignant as ever, whilst a heavier blues vibe was continued throughout Ignite (Light It Up). A melodic solo showcase was then afforded to Dela Cruz, which reminded everyone what a great player he is, before a couple more new cuts in Beautiful Lie and Riot of One hit the crowd. The latter was especially powerful, and it seems a shame that the rocker is not going to get a chance to become a setlist staple - as its gang vocal-led chorus deserves it. The other moment of sentiment came from Manning, who delivered a brief speech in tribute to Barras' career before the main set's final number My Parade. The song has long been Barras' show-closer, and it was as powerful as ever - with crowd participation before the band took a brief step away from the stage. They were called back for one more, of course, and it left to Hail Mary, arguably Barras' signature tune through the years, to close out just over a decade in music. The setlist was:

Who Needs Enemies

Unbreakable

Dead Horses

Unspoken

Monsters We Made

Savages

These Voices

Devil You Know

Watching Over Me

Ignite (Light It Up)

Guitar Solo

Beautiful Lie

Riot of One

My Parade

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Hail Mary

Whilst I never truly believe musicians when they say that they are retiring from music, especially ones as young as Barras, if, as of last night, Barras truly is done as a musician then he will have a career to look back on and be proud of. His body of work speaks for itself, and his tours have become fixtures on the UK scene - so will be greatly missed. I am sure that whatever he turns to next he will succeed at - and, perhaps, after a few years away from all things music, he may feel a certain itch again and be persuaded to pick up a guitar once more. We can only hope.