Alter Bridge's 'Alter Bridge' - Album Review

At one stage during the past couple of years it looked as if the Flordia-based hard rockers Alter Bridge were on some kind of hiatus. In more recent times the band has co-existed alongside the solo careers of both frontman Myles Kennedy and guitarist Mark Tremonti, as well as the former's work with Slash, but with the return of Creed in 2023, as Alter Bridge's touring cycle for 2022's Pawns & Kings (which I reviewed here) came to an end, it was likely that Alter Bridge would move down the pecking order - at least for a while. That is certainly how things seemed for a while. Tremonti, alongside fellow band members bassist Brian Marshall and drummer Scott Phillips, has been touring a lot with Creed over the past couple of years - whilst also releasing a new solo album and taking it on the road. Kennedy has also recently released a new solo album, which he has spent time touring, as well as spending a lot of time on the road with Slash. Perhaps, though, after seven studio albums, everyone involved in Alter Bridge just needed to do other things for a while. The Creed reunion has seemingly been a success, although the pre-Alter Bridge band were never as much of a big deal over here as they were in the US, and Kennedy has remained active and creative. Interviews with both Kennedy and Tremonti over recent years also seemed to downplay any imminent Alter Bridge activity. Something would come along at some point, they would say, but they were unsure when. As such, it just seemed like the band were not a priority for a while - but this clearly changed last year, as the four band members reconvened, alongside ever-present producer Michael 'Elvis' Baskette, to write and record Alter Bridge's eighth studio album. It, along with its touring cycle, which kicked off earlier this week, was announced quite a few months ago now - so the lead up to this latest, self-titled, Alter Bridge album has been something of a long one. Perhaps, given the relative lack of activity and news in the preceding few years the band wanted to get the message out there early and slowly build some interest in advance of the album dropping - but that time period seems to have flown by, as the album dropped through my door last week following its early January release. January is not always an especially busy time for new album releases, with such usually picking up in February and March. January 2026 is quite busy compared to normal, then, with, alongside Alter Bridge, Kreator's new album dropping yesterday and Megadeth's new and final opus due out next week. Hard rock and metal fans are being well-treated early this year, then, and Alter Bridge's latest effort is certainly a fine way to kick things off from a new release perspective. I am not sure exactly what I expected from the album, but I have been enjoying it perhaps more than I expected to. I think that the band's first four albums are fantastic, and some of the best modern, mainstream hard rock/metal releases of the 21st century, but the more recent efforts have been patchy. 2016's The Last Hero (which I reviewed here) was a poorly-produced and bloated album that failed to stick the landing, 2019's Walk the Sky (which I reviewed here) was surprisingly strong and memorable, but not up to the standard of the first four, whilst the aforementioned Pawns & Kings upped the heaviness at the expense of some of the band's core melodic traits. In some ways, Alter Bridge feels like a combination of the last two albums. It is certainly similarly heavy to Pawns & Kings, but the emphasis on melody is back in a big way. It is a stronger effort in line with Walk the Sky in my view, then, and a worthy entry into the canon.

With the album's 12 tracks clocking in at just over an hour, there is quite a bit to digest here - but the classic Alter Bridge sound is well and truly on show throughout - albeit with some of the additional heaviness of the last album retained. Kicking off with Silent Divide, the album opens with a pick scrape - before the first of many excellent riffs kicks in. A mid-paced and moody rocker, Silent Divide is very much representative of the darker side of the band's songwriting over the years - but the atmosphere created by the somewhat doomy riffing and headbanging grooves is offset by plenty of melody. Kennedy remains a great hard rock vocalist, and his performance throughout the album is emotive and powerful. The main riff here has a Black Sabbath-esque quality to it at times, and this vibe continues on through a snaking verse and a choppy pre-chorus - the former of which sees Kennedy operating in his lower register, before he moves through the gears during the pre-chorus. The eventual chorus sees him let rip a little, with some higher-pitched vocals at times, whilst a melodic guitar melody adds a little light to the shade of the rest of the piece. The chorus is similarly mid-paced, but it feels more anthemic overall melody-wise - and the song is the first of many hooky efforts here. The groove of the verses mixed with the hooks of the chorus helps the song to kick things off in a powerful manner - whilst a later chugging instrumental section ups the heaviness further and includes the album's first guitar solo. Guitar soloing is a big part of this album as usual - with both Kennedy and Tremonti getting plenty of opportunity to showcase their abilities. Continuing on in a similar fashion, Rue the Day is another pretty mid-paced hard rocker - with another big riff opening things up. The song feels a bit more stop-start and even more anthemic than the opening cut, though, with plenty of percussive drumming from Phillips during the verses - with Kennedy's vocals and the guitar riffing accenting around the drumming to create a building and somewhat staccato vibe. This jagged vibe is only pushed further during the pre-chorus, which often sees the guitars pause their riffing for effect, before the smooth chorus goes for a full-on old-school Alter Bridge feeling. The sing-a-long chorus could have easily sat on one of the band's earliest albums - and from the off it grabbed hold and has not let go. This is the sort of song I have always loved from the band - and some classic Alter Bridge dynamics are later employed, with a cleaner-sounding bridge and a spacey guitar solo sitting atop a more atmospheric backing. In my view, the somewhat thrashy Power Down completes a great opening trio of songs here - and the faster, heavier song certainly borrows from Tremonti's early solo albums as well as previous rippers like Addicted to Pain. Alter Bridge often sit on the border of hard rock and metal - but songs like this feel much more metallic. The hard-driving verses here are packed with hooky riffs and urgent Kennedy vocals - whilst there are even flourishes of NWOBHM-esque twin lead guitar for a few seconds here and there. The energy whipped up during the verses is infectious, whilst the pace slows down somewhat for another pretty hooky chorus that also sticks in the brain after only a few listens. The way Kennedy somewhat whispers the song's title as the chorus transitions back into the main riff makes the riff only hit harder - and the later high-octane, shredded guitar solo suits the song's metallic vibes.

Trust in Me is a bit of a step down in quality compared to the opening trio - and it is the first of two songs here to feature Tremonti on co-lead vocals. He has tended to sing a song per album of late - but tis two lead vocal contributions this time feel less prominent, which is a bit of a shame. Trust in Me returns to a more mid-paced vibe, with a slightly off-kilter riff backed by some droning guitar leads - which leads into a somewhat murky verse, with a mix of heavy, chugging guitars and atmospheric melodies. The song has an overall strange vibe as a result, dining out on some post-grunge vibes a little, but the sections all feel interesting and fit together nicely. Tremonti's voice is quite prominent during the chorus, which is quite hooky, but Kennedy is still there to back him up - meaning that his rich delivery is less prominent than it can often be. A cleaner bridge section later harks back to the early days of the band - which further diversifies the song's overall vibe, with off-kilter grungy metal and uplifting atmospheric sections sitting nicely side by side. Disregarded is a bit more typical of album's core sound, though, with a Gojira-esque riff kicking things off. This main riff is based around only a couple of notes, but the way the notes are subtly manipulated gives it that left-field Gojira feel. The song is less tech-focused and groovy than Gojira overall, though, but the French band have often felt like an influence on Alter Bridge in recent years - and this song showcases such. There are parts here where the aforementioned riff sits in the background whilst either a more typical driving riff or a flashier guitar lead sits atop it - which gives parts of the song a strange clash of styles which works surprisingly well. Other parts of the song are more typical, though, with strong vocal melodies and more straight ahead riffing - such as the chorus which is another pretty anthemic moment. In some ways the chorus feels a little out of place given how different much of the rest of the song is - but this moment of big melody works nicely given the droning nature of some of the riffing and the bass-heavy feel of other parts. Marshall's bass playing takes the lead later on, creating a deep bridge section that concludes in a guitar solo, with the song, like the previous one, being a real mix of vibes. Tested and Able is the second song here to feature Tremonti more prominently as a vocalist, and it kicks off with another big mid-paced riff that actually reminds me a little of a cold and high-gain sound of the recent Orbit Culture album. Clearly this song soon returns more to a classic Alter Bridge feel, but the guitar sound early on is reminiscent of that Swedish band - even if there is much more warmth elsewhere. Once the verse kicks off, the same guitar pattern is toned down and it sounds more typical of Alter Bridge - whilst the chorus, with Kennedy's warm vocals, is more atmospheric with a good mix of clean guitar backing and background riffing. Tremonti's prominent vocal contributions are left for the second verse, which he delivers with his usual class, whilst the chorus sees the two vocalists singing together for a bigger sound. A slow-burning, yet still relatively busy, guitar solo fills quite a bit of the middle of the song - whilst a slightly more light-hearted melodic guitar pattern following the solo acts as a summery bridge to a final chorus reprise, even though that big opening riff crashes in one last time to see the song close.

What Lies Within is a bit more typical of the recent Alter Bridge sound - and it somewhat returns to the vibe of Silent Divide which opened the album. What Lies Within is perhaps a bit more dynamic overall, though. The opening riff is similarly heavy, with a somewhat doomy mid-paced feel kicking things off. I like how the riff fades in from the distance - with an effects-heavy version of it starting things off before it crashes in properly. The verses are where the dynamism is found, though, with clean guitar melodies and more of a murk present - with Kennedy's voice allowed to dominate as a result. As the chorus is approached, though, the song gets heavier - with a spiky pre-chorus introducing some bigger riffing once more, before the chorus feels much more urgent and fast-paced. There is something more metallic about the chorus, then, which is welcome. Often songs like this are heavier elsewhere and slow down for the chorus, but much of this song feels the other way around. It works well, though, and the chorus is hooky as a result - and this burst of pace is retained for a later guitar solo which is busy and full of shredded motifs. The song is another powerful and pretty anthemic one as a result, then, which is typical of some of the bigger songs on the band's recent albums. Slowing the pace quite considerably next is Hang by a Thread - the album's ballad. Alter Bridge have written quite a few strong ballads over the years, and something more reflective and warm is expected on each album. Perhaps the band's best-known ballad at this point is Watch Over You - and musically this song actually feels quite similar. The similarities are such in places that it must be deliberate - so Hang by a Thread somewhat feels like an unofficial sequel to the 2007 song. Unlike some of the band's ballads, though, this effort is a bit more band-orientated at times. Some of them can feel pretty acoustic-based the whole way through, but this one does rock out in spots - with the whole band making the chorus feel huge. It is a chorus made for the stage, and I can imagine it going down well live, whilst the more low-key verses see Kennedy doing what he does best with an acoustic guitar. Scales Are Falling also opens slowly, but the clean guitar melodies have something of an unsettling vibe from the off. As such, it is clear that this song is not going to be another ballad - with the opening there to set a certain tone before something heavier kicks in. Arrangement-wise, the song is something a bit different. Following the spooky intro, a similar guitar line takes over - but this time with a harder tone, which soon gives way to a mid-paced and fairly hollow verse. There is little big riffing here - with Marshall's bass rumbling away beneath the spiky guitar line and Kennedy's relatively deep vocals. Kennedy does not really push himself vocally throughout the song - and largely sings in a lower register. This works well, though, given the song's strange overall vibe - and even the chorus has a similar overall feel. There is a bit more warmth later, with Kennedy singing against a fuller sound backed by strings - which leads into a laid back guitar solo. The song overall is a bit of a strange one, then, and something which is quite different for the band. It feels fresh as a a result, even if it is not always the hookiest piece - and variety is always welcome.

Playing Aces then sees the band return more to the album's core, heavier sound - with a fast-paced riff kicking things off. Despite the band upping the pace here, the thrashy vibes of Power Down are not really repeated here. The band's more typical groove-based approach is retained instead, and the song soon reveals itself to be another pretty anthemic effort. The fast-paced riffing is still pretty headbang-worthy, and the snappy riff accents during the relatively sparse verses are also metallic - but later portions of the arrangement are much more typical of the band's older sound. The punchy snare drumming in the verses only aids this heaviness, but by the time the pre-chorus rolls around a more melodic approach is taken - with Kennedy really soaring vocally. The main chorus slows things down somewhat, also, and feels typical of the band's anthemic approach. It is another chorus which sticks in the brain pretty easily - so much so that the song is another which is likely to go down well live. This is a feeling which I have about most of the songs here. The album feels closer in tone to some of the band's older works in that regard - and that is likely why I have been enjoying it more than I expected to. Penultimate number What Are You Waiting For, though, feels like a little step down in quality following the recent string of late-album winners - which is a shame. It is certainly not a bad song, but compared to many of the more interesting pieces here it feels a little lacking. It is just a bit more of a bog-standard hard rocker, which feels like some of the less interesting pieces on the band's more recent albums. The chorus, whilst memorable to an extent, just lacks those cutting melodies which the band's best songs have - and the riffing is less potent and powerful. It is just a song which feels like a step down in every regard - and it is likely my least favourite song here. The other songs I have clicked with less here at least generally feel like they are trying something interesting arrangement-wise - but this one feels a little lazy compared to everything else. Given the length of the album, it is a track which could have been left out in my opinion. The closing number Slave to Master picks things up again, though, and the nine minute-plus epic is the band's longest song to date. I am not sure that the band are ever going to replace Blackbird as their signature epic - but Slave to Master is a strong effort, particularly from a guitar playing perspective. This long track opens slowly, with clean guitars and Kennedy's downbeat vocals. The first part of the song is low-key, then, and it remains that way for a little while - setting an atmospheric tone before a brief pause. Following this, the song ramps up in power, with a snappy, heavy riff kicking in. Much of the rest of the song is hard-driving and powerful, then, with juddering riffing at times and a chorus which is pretty anthemic - although not anthemic enough to dethrone Blackbird. The overall pace and heaviness when the song kicks in proper is what makes it strong, though, despite a few cleaner and atmospheric moments returning here and there. Mid-paced groovy riffing sections only up the heaviness further in places - and this makes some later cleaner sections feel much floatier and more effective than they otherwise might. The light and shade balance works well. The heaviness dominates, but the moments of calm are needed to ensure that the heaviness feels as good as it does - but the best is yet to come. The song's last third or so is largely taken by two lengthy guitar solos, with both Kennedy and Tremonti getting to stretch out. This section is easily the best on the album from a guitar playing perspective - and it could well be the best ever from the band. It is a great way to end the album - and overall Alter Bridge has impressed. Production-wise it feels big and clear, unlike some of the band's other recent efforts - and the songwriting is largely quality from start to finish. In time this album might overtake Walk the Sky as my favourite of the band's more recent efforts - and 2026 has certainly got underway nicely with this powerful album.

The album was released on 9th January 2026 via Napalm Records. Below is the band's promotional video for Silent Divide.

Music of 2025 - Part 2

2026 is here - and with it will come a huge amount of excellent new music. Yesterday I highlighted a few releases which I am already looking forward to, but it is inevitable that plenty more excellence will follow - and I also already have quite a few gigs booked, including ticking off some big names like Metallica. Yesterday I picked off a few of 2025's stragglers - briefly reviewing a few albums that I did not get the chance to review properly, as well as highlighting my favourite live release of 2025. I always like to start each year by looking back properly at the previous one, though, so this first post of 2026 will, as is custom, present my Top 10 albums of last year - as well as highlight some of the very best gigs I went to. As always, putting this list together was hard. The top two were largely set in stone, as is often the case when some very favourite bands release new albums - but the rest of the spots could have been filled with around 15 or so releases. Narrowing these lists down is always hard, so I generally tend to think about how many times I have listened to each one - with those that have received the most listens generally making the cut. As such, the rules for inclusion are quite nebulous - but I do not want to expand my list to include more albums, as I just do not have the time to write such a post. I need to have at least a bit of rest each Christmas break - so I have always strictly kept the list itself to 10 albums. I should also point out that my very favourite bands do not automatically get to top a list. Previous yearly lists will show that the band to top the list this time have not topped every list in a year when they have released something new - with two of their last three albums not reaching top spot. It is always hard to remove bias from these lists, though, but at the end of the day - this list is mine and mine alone. It is not supposed to represent any wider opinions or present a definitive Top 10 - it is just meant to showcase my personal favourites, and my top album this time is the one I have listened to the most and have gotten the most out of. In terms of what makes up the list, it is probably a bit more varied genre-wise than 2024's list - which was heavier overall. With both progressive rock and metal, power metal, symphonic metal, AOR, and yacht rock all featured - there is a good spread of genres, but my re-discovered love of a power metal is certainly reflect here with three entries. The list is a good representation of my listening patterns of the year, then, even if a few quite important albums had to miss out. I should point out, too, that only full-length albums of new material are eligible to be included - meaning that live albums, EPs, compilations, or any kind of re-recorded/re-visited material are not up for consideration here.

10) Young Gun Silver Fox - Pleasure

The UK/US soft rock duo Young Gun Silver Fox are a real favourite of mine - with 2022 and 2023 in particular being filled with the soft rock, poppy, and jazzy sounds of Andy Platts and Shawn Lee. I saw the band live twice in 2023 and, in truth, likely over-listened to the band somewhat during that period. As such, I did not listen to them as much during 2024 - but I came back to them again in a big way last year due to the release of their fifth album Pleasure. Perhaps a little more up-beat and disco-influenced than their previous work, the duo's core yacht rock sound is still very much evident. When it comes to this kind of music, there is no newer band out there doing the breezy, West Coast sound better than Young Gun Silver Fox. They totally get what makes that sound tick, without ever really resorting to true pastiche. The band sound modern and radio-ready despite mining the late 1970s/early 1980s for influence - and each album so far has been a feel-good platter of excellence. Pleasure is more feel-good than ever in my opinion - with the uplifting vocals of Platts and the intricate guitar playing of Lee, plus a big dose of horns, yet again coming up trumps here.

Listen to: Stevie & Sly, Burning Daylight & The Greatest Loser

9) Sabaton - Legends

Due to being disappointed with their last album, and not enjoying a 2023 show as much as I should have for personal reasons, I came to the Swedish power metal legends Sabaton's new album Legends with middling expectations - and it has actually become one of my most-played albums of the last couple of months. Sabaton's chunky, largely mid-paced power metal sound is largely set in stone at this point, and Legends does not really do anything different. Despite this, though, following a relatively lacklustre previous release, in my opinion anyway, the latest album feels much more energetic - and it also feels a bit heavier overall. The synths are still there, but they are less prominent throughout - with the guitar playing of Chris Rörland and a returning Thobbe Englund really driving everything. There are some of the band's best riffs, lead guitar melodies, and solos for a while on this album as a result - and the heaviness allows frontman Joakim Brodén to really double down on his gritty delivery at times. The more varied theme helps, too, moving away from the First World War lyrical content of the previous two albums. Overall, then, this album just feels fresher than the last album - and I have been enjoying being back on the Sabaton train recently.

Listen to: Hordes of Khan, A Tiger Among Dragons & Crossing the Rubicon

8) Amorphis - Borderland

A new album from Finland's Amorphis is always a reason to celebrate - and Borderland was another regular companion during the last few months of 2025. Whilst Amorphis' core sound has long been established at this point, at least since current frontman Tomi Joutsen came on board in 2005, the band never disappoint. Each album tends to feel and sound very similar to what came before, but given that no-one else really sounds like Amorphis this similarity does not bother me. The band are just great at what they do - and Borderland is another very strong album from the band that mixes progressive, gothic, folk, and melodic death metal into a soup of emotion, atmosphere, and majesty. Compared to the previous album, which was a bit heavier overall, this latest effort does feel a bit more atmospheric and floaty than is sometimes the case. Joutsen's clean vocals dominate this time, with his harsh vocals utilised relatively sparingly, whilst big guitar riffs are generally replaced by soaring guitar leads and retro synth and organ textures. These sounds are nothing new for Amorphis, of course, but the balance is certainly more in their favour this time - which is perhaps unsurprising given that keyboard player Santeri Kallio dominated from the songwriting here. It was a great album for the winter months, hence its inclusion here.

Listen to: Bones, Dancing Shadow & The Strange

7) The Night Flight Orchestra - Give Us the Moon

There have been two Swedish melodic rock/AOR albums that I listened to a lot last year. Only one could make the list, though, given the plethora of other things I wanted to include, so The Night Flight Orchestra's Give Us the Moon won out over H.E.A.T's Welcome to the Future (which can be seen as another honourable mention) - largely because it was probably my most-played album of the first few months of 2025. H.E.A.T delivered the better live show when I saw the two bands back-to-back, but Give Us the Moon could be the most consistent album yet from frontman Björn 'Speed' Strid and his supergroup of pop rockers. It is the band's first album since the death of guitarist and songwriter David Andersson, despite an old song of his being recorded by the band here, so it was always going to be an interesting one. Strid has always written a lot for the band, but he stepped up in a big way here - alongside new guitarist Rasmus Ehrnborn and multi-instrumentalist Sebastian Forslund. Despite the band having put out many excellent albums in the past, everything really seems to have clicked here in a big way - with each song trying to out-do the previous one in terms of hooks and choruses. It is a hugely memorable melodic rock/AOR release as a result, with more Toto than Journey in its sound which helps to set the band apart from other modern AOR acts, and is a big reason why I listened to it so often.

Listen to: Stratus, Shooting Velvet & Runaways

6) Epica - Aspiral

Returning to a heavier sound, the Netherlands' Epica are another band that never disappoint. I have been following the band for nearly 20 years at this point and in that time they have released excellent album after excellent album - whilst also consistently delivering live. They will be my first live experience of the year, alongside Amaranthe and Charlotte Wessels, and I am hoping that a good number of songs from 2025's excellent Aspiral are featured in the set. The gap between it and Epica's last album felt like a long one, so I was very much ready for something new - and Aspiral did not disappoint. Like Amorphis, Epica's core sound has been in situ for many years at this point - but there have been twists and turns along the way to keep things fresh and to give albums bespoke identities. With the possible exception of 2005's Consign to Oblivion, Aspiral feels like the band's most accessible album yet. Whilst there are plenty of extreme metal influences here, and guitarist Mark Jansen's growls are as potent as ever, this seems to be an album which pushes melody and hooks in a bigger way than before. The songs, generally, are shorter this time - with the longest piece here being just over eight minutes long. As such, there are fewer progressive moments this time - but the arrangements are still interesting and knotty, meaning that there is still plenty to keep die-hard fans coming back to discover.

Listen to: Cross the Divide, Darkness Dies in Light (A New Age Dawns - Part VII) & The Grand Saga of Existence (A New Age Dawns - Part IX)

5) Avantasia - Here Be Dragons

Returning to power metal with my fifth choice, and Tobias Sammet makes a welcome return to my Albums of the Year list for the first time since 2016. He was a regular inclusion for a while, both with Edguy and Avantasia, but with Edguy on hiatus and the last couple of Avantasia albums somewhat disappointing I was pleasantly surprised by how much I enjoyed Here Be Dragons. Like Epica's new album, Here Be Dragons is perhaps a more straight ahead album - with a bit less of the bombast and progressive flair of albums past. Sammet tried that with the last Avantasia album, to a less successful end, but Here Be Dragons balances hooks and bombast nicely - with shades of Edguy in some of the simpler tracks and plenty of epic arrangements typical of the best Avantasia albums elsewhere. It helps that this is likely the best collection of songs that Sammet has written for quite a while - with no obvious weaker moments to break up the flow. It is very much an album that contains hit after hit - and perhaps less focus has been put this time on creating a coherent album that feels as one, with more focus given to just writing great songs. This has paid off in my opinion - and it helps that a number of excellent guest vocalists flesh the songs out as always. Regulars like Geoff Tate and Bob Catley return, whilst Tommy Karevik and Adrienne Cowan are some of those making their debuts here.

Listen to: Here Be Dragons, The Witch & Bring on the Night

4) The Doobie Brothers - Walk This Road

I always love it when an older band that has not been all that prolific of late releases something new. Arguably this current era of The Doobie Brothers started in 2021 with their last, very solid album, but Walk This Road is the band's first since the 1980s with Michael McDonald in tow - and their first album which properly features all three of the band's classic singer-songwriters in a more or less equal capacity. McDonald alongside founding members Tom Johnston and Patrick Simmons have really gone back to what made The Doobie Brothers great throughout the 1970s here, with songs that could have sat on the early and late 1970s albums alike. Vocal duties are split pretty equally, with all three singers still sounding strong, whilst a large cast of session musicians, including producer and co-writer John Shanks, helped the three core members, alongside long-standing multi-instrumentalist John McFee, to bring their songs to life. All of the classic Doobie Brothers sounds are here, from smooth vocal harmonies, through boogie rock numbers, to furious bluegrass instrumental sections - with a good mix of rock, pop, blues, folk, and country present to make Walk This Road easily the band's best album since, at least, 1989's comeback effort Cycles.

Listen to: Walk This Road, Angels & Mercy & Here to Stay

3) Helloween - Giants & Monsters

Germany's Helloween are still out there showing everyone else how to properly do a reunion. In fairness the previous entry in this list are also somewhat doing something similar, but Helloween's on-going seven-piece line-up is easily the ultimate version of this band - and it allows all eras to shine. Whilst perhaps a good idea for a tour, I am not sure that too many thought it would translate well to the studio - but Giants & Monsters is the current line-up's second album, and it might even be better than the one that came before. Whilst the previous album might be a bit more epic in scope, Giants & Monsters feels a bit more cohesive and assured as a full album - and the band also feel more relaxed here. On the previous album it often felt as if a true balance between co-frontmen Michael Kiske and Andi Deris was trying to be struck - whereas the balance this time feels more natural. If a song is more fitting for one over the other, then the other has no qualms sitting it out - and the vocal arrangements feel a bit more natural as a result. Many of the best moments see the two joining forces, though, and the greater involvement this time from Kai Hansen from a songwriting perspective means that there are some real throwbacks to the band's early days here. Despite some strong competition, Giants & Monsters is my favourite power metal album of 2025 - and Helloween continue to deliver more than 40 years deep into their career.

Listen to: Giants on the Run, Universe (Gravity for Hearts) & Majestic

2) Dream Theater - Parasomnia

I imagine that anyone who knows me well could have guessed my final two choices. Any new Dream Theater album generally finds its way into my Albums of the Year lists - but Parasomnia feels like a special release. It is the first album to feature returning drummer Mike Portnoy since 2009 - and the band have seemed extremely fired up since his return. Their reunion tour was epic, and they have barely stopped since kicking it off in 2024. Parasomnia does not exactly do anything new, and it is very much Dream Theater through and through, but it returns to a heavier side of the band's sound which had perhaps been absent since the mid-/late-2000s - and Portnoy very much feels at home back in the band. This is not to say that Dream Theater floundered without him, as some of my favourite Dream Theater songs were released whilst Mike Mangini was in the band, but I think, since Portnoy's return, it is very clear that he really is the true drummer for this band. His relationship with guitarist John Petrucci was always what made this band tick - and everyone has really stepped up to the plate on this new album, with James LaBrie delivering a fantastic vocal performance. Sometimes a band just delivering more of the same, but in a freshly confident and defiant way, is enough to make an album shine - and Parasomnia certainly shines.

Listen to: Night Terror, Midnight Messiah & Bend the Clock

1) Mostly Autumn - Seawater

Surprise, surprise - one of my two all-time favourite bands topped 2025's list. In fairness, Mostly Autumn's last album did not top 2021's list - but Seawater has been my most-played album this year, and it is a marvellous album from a band that continue to impress. It very much follows a similar path to the band's longer and more complex albums of the past decade or so - with quite a few lengthy tracks and a dense, emotive atmosphere. My opinion of the last album has probably dropped a little since 2021, largely as the pandemic-themed release feels very much a product of its time and the fact that many of its songs did not stay in the live set for very long, but Seawater is easily as good as the three albums which preceded it - with a few standout songs perhaps being among the band's best for a while. One thing that is a bit different about this latest effort is the more prominent folk influences on show again. The band started out with plenty of folk in their sound, but this has largely faded away over the years. One song here really harks back to that sound in a big way, whilst other numbers also showcase those vibes. Angela Gordon's flute has been utilised here more than it has been for a while, then, whilst the searing guitar playing of bandleader Bryan Josh is as emotive as ever. His and Olivia Sparnenn-Josh's vocals really shine throughout, too. Josh perhaps sings a bit more throughout this album than has been the case of late - but the balance struck ensures that both singers, who were the only two to write songs for the album this time, bring the band's latest effort to life.

Listen to: Let's Take a Walk, When We Ran & Future Is a Child

Whilst the above list contains my favourite 10 albums of 2025 - there were, as always, plenty more albums I wish I had included. My overall shortlist was perhaps a bit shorter than it can sometimes be, but nevertheless some excellent albums still had to miss out - and I always like to briefly highlight a handful before moving onto the previous year's best gigs. Alongside the H.E.A.T album already mentioned, then, was the latest effort from Arch Enemy: Blood Dynasty. I had been a bit disappointed with the band's previous couple of albums, but Blood Dynasty felt a lot stronger. It did not exactly do anything new, but the melodies and riffs were bigger than ever - with frontwoman Alissa White-Gluz delivering a stellar performance. Given that she and the band parted ways at the end of their recent European tour, too, it will act as her final say with the band which she fronted for four albums. Also included here is Ghost's Skeletá - an album I listened to quite a bit when it dropped but then have not revisited all too often since. It is not quite as strong as the two albums which came before it, but it nevertheless continues Ghost's journey as one of rock and metal's biggest current acts. Some of the songs are among the band's best, and the show I caught on the tour was excellent (despite it also not appearing in the list below), but other bands just felt more vital for me this year than Ghost - despite Tobias Forge still being someone I admire immensely. Finally, too, I would like shout out Styx's latest offering Circling from Above. Like the Ghost album, Circling from Above perhaps suffers from being not as strong as the band's previous two efforts - but I have still given it a lot of airtime this year. It is easily much more mellow than the band's other recent albums, and perhaps less progressive, too. Some of the classic Styx bombast is missing, then, with Beatles-esque harmonies and melodies in their place - which makes it very much a mood album. The choice to change things up feels very deliberate, though, and the album is very cohesive and well-considered as a result - with both Tommy Shaw and Lawrence Gowan delivering vocally. All that is left to do now is to highlight my favourite gigs of 2025 - which I have listed below. I have just picked out the best five of the past year rather than trying to group them - and there were plenty of other excellent ones which had to miss out, as I went to a record number 58 shows in 2025!

5) The Doobie Brothers, BP Pulse Live, 17/07/2025

Whilst some perhaps more technically impressive shows missed out on this rundown, I had to include seeing one of my favourite bands The Doobie Brothers live for the first time. I only got into the band a few years ago, and for a long time it seemed as if the band's wider touring days were over. Each year saw them cycle around America, playing to some pretty big venues once Michael McDonald returned to the fold, but shows further afield seemed like a dim prospect. This slowly changed, though, and following missing the band opening for the Eagles in 2024 some headline shows were booked for 2025 - and Birmingham made the most sense. Hot on the heels of their latest album dropping, four new songs sat in the set which otherwise was made up of classics from the 1970s. All three of the band's classic singer-songwriters sounded great - and the current live band is made up of plenty of excellent and very professional musicians, who all had a chance to shine. The arena was made to look small, but the low thousands that turned out had a great time - and there was a feel-good vibe in the room throughout.

4) The Temperance Movement, Trinity Centre, 17/03/2025

Following the band going on hiatus as a result frontman Phil Campbell's departure in 2020, I assumed that I would never see The Temperance Movement live again. At one point they looked like a band destined for the biggest stages, but sadly such a break never really came - and Campbell's addiction issues, by his own admission, essentially saw the band fold. With plenty of time for reflection, getting clean, and water passing under the bridge, though, the band reformed towards the end of 2024 for a series of live shows in 2025 - and I was at the very first one in Bristol. The packed out room made for an electric atmosphere, whilst the band really roared - sounding more powerful than ever. The gentle, acoustic start to the show, with a very stripped back Chinese Lanterns, was one of the most emotive gigging moments in recent memory, too, as it was very different to how a rock show usually starts, and it only made the big riff of Only Friend feel more powerful when it then kicked in. Campbell was redeemed from the opening few lyrics in my opinion - and the rest of the band were clearly all there for him. It was unclear whether the tour would be a one-off to give the band a proper send-off or whether it would be the start of a new era - but given the band are playing some festival shows this coming summer there is at least a little more gas in the tank.

3) Fish, Bristol Beacon, 26/02/2025

Lots of musical acts retire, only to return a few years later - but I think I believe Fish when he said that his last tour would be his final one. His health in recent years has made touring hard for him - and he has now moved to a small Scottish island and intends to properly retire. He shut down his record label and online store and, save for a handful of occasional social media posts, has essentially left the public eye. I had seen Fish many times over the years, but the Bristol show on his final tour might well have been the best of the lot. Sounding the strongest he had vocally for a long time, and backed by a tight band of long-time collaborators, Fish's career-spanning and lengthy set was a good mix of classics, fan-favourites, and lesser played numbers. From the spine-tingling opening Vigil to the closing folk rock of The Company, Fish had the packed Beacon in the palm of his hand. It was great seeing him in such a large venue to close things out - and the atmosphere was electric from the first note. Plenty of classic Fish banter was thrown in of course, as well as a couple of nods to his past with Marillion, but overall this was a night celebrating all things Fish - and he very much went on a high and on his own terms.

2) Toto, BP Pulse Live, 02/02/2025

It seems strange that two of my favourite gigs of 2025 took place at the BP Pulse Live - especially as both of the shows were played with the venue in a smaller configuration to crowds in the low thousands. This did not effect the vibe of The Doobie Brothers' show as already mentioned, and it certainly did not effect Toto's showing - which rivalled the first time I saw them as the best live experience of this classic melodic rock act. Whilst only Steve Lukather and Joseph Williams remain from Toto's classic eras, the current line-up is a musical juggernaut. Greg Phillinganes has been associated with the band on and off for years, whilst Shannon Forrest is one of the most in-demand session drummers going. The surprise package, though, was Dennis Atlas. Not only a fantastic keyboard player, but he essentially became a third lead singer - duetting a lot throughout with Williams in particular. Atlas' higher voice allowed Williams to rein it in a little, preserving his smooth tone, and the current line-up really brought the best out of everyone. It helped, too, that the setlist was a real treat for die-hard fans - with deep cuts like Carmen and Angel Don't Cry getting airings, whilst the more modern Mindfields was debuted on the tour. Toto are masters of what they do and I will keep going to see them as long as they keep coming back.

1) Savatage, O2 Shepherd's Bush Empire, 16/06/2025

Savatage are not a band I ever thought I would see live - largely as they had not existed in any permanent form since the early 2000s. They might not be an all-time favourite band of mine, but they are certainly a band I like a lot - so I jumped at the chance to see them when they announced a London show as a part of a short run of summer reunion shows. Whilst some might see the current line-up as compromised without bandleader Jon Oliva, who is currently side-lined for health reasons, all of the current line-up are long-time Savatage members - and it is easily the most legitimate version of the band that could realistically tour these days. Whilst the lengthy show focused on the band's later, Zak Stevens-fronted, albums, the setlist overall was career-spanning - with plenty of older traditional metal classics thrown in alongside the more theatrical and progressive material which came later. This was one of those shows where everything just came together to make it special. The show itself felt like an event, the band sounded great on stage, and the packed out venue was as one - with everyone singing along to every song and creating a dynamite atmosphere. Everyone was just pleased to be there, whether it was their first time or they were Savatage veterans from back in the day. Sadly the band are not returning to the UK on their run of summer shows this year - but this London show will live long in the memory as one of the very best.