In the world of symphonic metal, Epica are one of the biggest and most popular bands. They are also one of the heaviest and most dynamic, with a sound that is as epic and orchestral as it is brutal and heavy. Since 2014, and the release of sixth album The Quantum Enigma which really pushed the band's sound and production style forward, Epica have been playing bigger venues when touring the UK. The past two London shows (in 2014 and 2015) were at the O2 Forum in Kentish Town which seems to be the venue of choice for the bigger European metal bands at the moment. Crowds at both shows were great, and bringing strong special guests with them each time (DragonForce in 2014 and Eluveitie in 2015) would have certainly helped the turnout. Unfortunately I could not make the 2014 show, which eventually sold out anyway, but the 2015 show was excellent and showed the benefit of building a bill to fit the audience. The show with Eluveitie was almost a co-headline one, with Eluveitie getting a good length set of their own and many of their fans were present too. Since then, Epica have released The Holographic Principle album which carries on the great work started on The Quantum Enigma. As part of a wider European tour, a one-off stop in London was scheduled in promote the new material. The slightly smaller O2 Shepherd's Bush Empire was chosen as the venue this time, which is not quite as good a place to watch music as the O2 Forum, but the capacity is pretty similar. It was not a sold out show, but it was certainly as good as with a good vocal crowd in the venue all evening. Carrying on the tradition of bringing strong guests with them, Epica this time teamed up with German power metal band Powerwolf who are a band who's stock is certainly rising. In fact, this was more of a co-headline tour, with the two bands swapping who would close the show depending on who was the bigger draw in each city. London is clearly Epica's territory, so they headlined this show and had a longer overall set, but Powerwolf still had a good length set and treated the show as if it was their own!
Before either of those bands played however, the crowd were treated to half an hour or so from German up-and-coming symphonic metal band Beyond the Black who I was previously familiar with in name only. Led by frontwoman Jennifer Haben, the six piece band are not as grandiose or experimental as bands like Epica but instead focus on writing tight and memorable songs. I would compare them to Delain in this respect, as the songs are very melody driven and focus on strong vocals and more basic arrangements than an over-the-top production. Despite their short time on stage, they made a big impression on me. Haben herself proved to be an excellent singer and frontwoman who interacted well with the crowd and led her musicians through the highly-polished set with ease. I was impressed with the band's songs, so I will definitely be getting one of their albums soon and having a proper listen.
Despite not headlining, Powerwolf still had over an hour on stage and made it count with a high energy set of fun power metal anthems with plenty of opportunities for crowd interaction. Frontman Attila Dorn really is a master of his craft, and his booming voice is perfect for the over-the-top music the band create. Nothing about Powerwolf's music is tricky, but the driving guitar rhythms, the horror-themed organ backing, and the fantasy-based lyrics make for a sound that fits the band's spooky but fun image perfectly. Blessed & Possessed and Army of the Night got things off to a great start, and both songs were well received by the crowd who helped Dorn sing the lyrics with plenty of enthusiasm. The Greywolf brothers both play guitar live which means there is no flesh and blood bass player live on stage which is always an odd thing to see. This, coupled with the fact that Falk Maria Schlegel (keyboards) seemed to spend as much time running around the stage getting the crowd going as he did actually playing his keyboards, did make me wonder how much of the band's live sound relied on backing tapes, but the atmosphere was so good that this did not seem to matter. Powerwolf are a band that does one thing, but they do it very well. It is safe to say that they have a distinct sound, and this gave the set a complete and unifying sound. Highlights for me were the upbeat Sacred & Wild and the doomy and slower-paced anthem Let There be Night which could have been on the soundtrack to a classic Hammer film. The set came to an end with two really memorable anthems in the form of Sanctified by Dynamite and We Drink Your Blood, both of which really got the crowd going. While Powerwolf will never be a favourite band of mine, they certainly put on an entertaining live show and are extremely good at what they do. I am sure there were many in the crowd who thought that they were the band of the night, and I can totally understand this view while not agreeing with it. I shall have to get some more Powerwolf albums at some point, and I would like to catch them live again one day. The setlist was:
Lupus Daemonis
Blessed & Possessed
Army of the Night
Amen & Attack
Coleus Sanctus
In the Name of God (Deus Vult)
Sacred & Wild
Armata Strigoi
Dead Boys Don't Cry
Let There be Night
Resurrection by Erection
Werewolves of Armenia
Sanctified by Dynamite
We Drink Your Blood
Wolves Against the World
Powerwolf and Epica could not be more different in terms of presentation. The former relies more on a high-energy show and lots of interaction to make their live show have more impact, whereas Epica rely more on the power of their music to wash over the audience. Both of these approaches are equally valid, it was just interesting to see the two methods employed one after another. While Powerwolf were very good, it was Epica I was here to see and thankfully they did not disappoint. With the new album receiving good reviews around the world, it was good to see the new material dominating the set and a few ever-present set choices getting a rest. Two new songs, Edge of the Blade and A Phantasmic Parade, made for the perfect opening duo. Frontwoman Simone Simons was in fine voice throughout, and powered her way through both as the band, as tight as ever, backed her up perfectly. The second of the two in particular impressed with Coen Janssen's (keyboards) synth melodies really cutting through the staccato guitar rhythms. The piano-led rocker Sensorium, a song which would probably benefit from a break from being played live, brought some energy to proceedings, but it was Universal Death Squad, another new number, that really got everyone going. This is probably one of the most complete Epica songs yet and manages to pack everything that is great about the band into it's heavy but melodic walls. The groovy chorus is one of the catchiest, and the riffing from Isaac Delahaye (guitar/vocals) is so progressive but still very memorable. There is a lengthy death metal section too for Mark Jansen's (vocals/guitar) harsh vocals to shine. It was great to hear The Essence of Silence from the last album live again as it is such a powerful addition to any setlist. The rest of the set was mostly new material again though which was great. One of the latter highlights was the Indian-themed Dancing in a Hurricane which has such a progressive opening that builds towards and anthemic and extremely memorable chorus. They keyboards and guitars work so well together in this song, and the Arabic melodies are strong and work well within the symphonic scope of the band's traditional sound. A small amount of crowd participation was encouraged at the start of Unchain Utopia, but it was the end of this song that impressed the most with a lengthy drum outro from Ariën van Weesenbeek that acted as a mini solo and brought the song to a dramatic end. In a slightly strange move, the set ended with a power ballad, Once Upon a Nightmare from the new album, that really showcased Simons' soaring and powerful vocals. Being the headline act, Epica had time for an encore. Sancta Terra, another song that could do with a rest, got this three-song segment going, but it was the new number Beyond the Matrix that really got the crowd going. The slightly funky, danceable song is something different for Epica and it works really well live driven by Rob van der Loo's (bass guitar) snaking bassline. The epic closing number Consign to Oblivion, which often ends the band's shows, is still as powerful now after hearing it live four times as it was the first. The heavy riffing and Jansen's soaring growls ensured the evening came to a strong close and the wall of death at the beginning was the first such thing I had seen at an Epica show. The setlist was:
Eidola
Edge of the Blade
A Phantasmic Parade
Sensorium
Universal Death Squad
Storm the Sorrow
The Essence of Silence
The Obsessive Devotion
Ascension - Dream State Armageddon
Dancing in a Hurricane
Unchain Utopia
Once Upon a Nightmare
-
Sancta Terra
Beyond the Matrix
Consign to Oblivion (A New Age Dawns - Part III)
Overall, this was an excellent evening of live metal in London, with all three bands playing strong sets that impressed the near-sellout crowd. While Epica were the band of the night for me, the other two bands impressed too and it is bills like this that make getting out and travelling to gigs worth doing.
Sunday, 5 February 2017
Saturday, 4 February 2017
Black Sabbath - Birmingham Review
In the world of metal, there is arguably no band more important and iconic than Birmingham's Black Sabbath. Their self-titled debut album, released in 1970, truly was the birth of a genre and the world of music has not quite been the same since. I, and many many others, owe everything music-related to Black Sabbath and I do not always think people realise just how important the band have been over the years. Despite this, classic Black Sabbath is something I have only really embraced in the last few years. The release of 2013's 13 was the turning point for this, and I finally began to really digest the classic early Black Sabbath albums and look beyond the obvious classics. Before this, my love of Black Sabbath really only extended to the Ronnie James Dio eras of the band, and parts of the Tony Martin era, but getting 13 opened my eyes to the early classics in a way that I had not seen them before. I saw the band for the first time on that tour in Birmingham in 2013, and it was fantastic. I was right at the front and the band played for 2 hours with a set that was packed full of classics and new songs from 13. Since then I have bought every Black Sabbath album and have really embraced the influence and sound of the original, and certainly most iconic, line-up. Black Sabbath have had so many different members and eras over the years and, while my heart will always remain with their 1980s output, I have a real appreciation and respect for their early 1970s classics now and I listen to them regularly. When it was announced that they were going to call it a day, unsurprising given Tony Iommi's (guitar) recent health issues, I knew I had to make one of the dates. Birmingham was always going to be my preference, giving it is the band's hometown, and two shows at the Genting Arena were announced as the final two Black Sabbath shows ever. I opted for the first of the two as it fit in better with other plans I had and I thought it would be easier to get tickets for! I got tickets easily, and was looking forward to it from that moment on!
I was initially disappointed when Californian bluesy hard rockers Rival Sons were announced as the support act for the entirety of 'The End' tour. I had seen the band at the High Voltage Festival back in 2011 and thought that they were quite bland, but in fairness that was six years ago and the band has since become pretty popular and well-liked in their own right with five full-length albums to their name now. I was open to giving them another shot however, and from the off they really impressed. Since that High Voltage slot they have grown into a tight, confident, and powerful live band who were easily louder than Black Sabbath during their entire set and really seemed to win the crowd around by the end. The addition of keyboards to their sound since 2011 really helped, as Todd Ögren-Brooks (keyboards/percussion/vocals) washings of retro-sounding rock organ really added to the band's early 1970s hard rock sound. The focus of the band however is clearly the duo of frontman Jay Buchanan, who has a fantastic bluesy voice, and guitarist Scott Holiday. Holiday's playing incorporates lots of tasteful slide solos, which again adds to that 1970s sound. I really like it when a band proves you wrong, and it does make me wonder what I have been missing out on gig-wise over the past six years! It would appear that I have some serious catching up to do!
Despite that set from Rival Sons, it was of course Black Sabbath that everyone was here to see. As the lights went down a suitably cheesy video was projected onto the curtain, and it rose as the band launched into the self-titled track, the opening song from that defining 1970 album. The demonic tritone riff, and Geezer Butler's (bass guitar) occult-themed lyrics sung from frontman Ozzy Osbourne's haunting voice set scene for the rest of the show perfectly as fire was ablaze atop the guitar amps. I have to say however that the atmosphere during this opening number was ruined somewhat by an endless stream of people ambling up the stairs with tonnes of drinks trying to find their seats and just generally acting like mindless drones. It really is not hard to find seats in these venues, they are all clearly numbered, and I find it rude when people leave it until literally the last second to make it to them and talk to their friends loudly disrupting everyone else while doing so! Anyway, this soon calmed down and the rest of us were left to enjoy what proved to be a masterful evening of heavy metal from the Godfathers of the genre. The set was packed full of classics, as you would expect on a farewell tour, with all but one song (and a short instrumental medley) coming from the band's iconic first four albums. Early highlights for me were the foot-stomping Fairies Wear Boots, with that excellent psychedelic instrumental intro, and a personal favourite in the form of After Forever, a song not played on their 2013 tour. Much of the set was the same as the last show, but the songs are all so classic that this hardly seemed to matter. The opening riff of Into the Void is still one of the most metal things of all time, and seeing Iommi play it again, despite being quite near the back of the venue this time, was a treat. The crowd was easily at their loudest of the evening during War Pigs where Osbourne often held out the microphone to allow the crowd to sing for him and they more than answered the call into service.
There was a bit of an off moment when Osbourne was announcing Beyond the Wall of Sleep that they are only playing the classics as 'no-one gives a shit about the new album'. While this might be true of many fair weather Sabbath fans, I am sure there were many in the Genting Arena that bought and enjoyed 13 very much. It topped the album charts after all so someone must have bought it! It is a shame that many older bands feel they have to just play the classics over and over to appease the casual fans. A song or two from 13 would have been a really welcome addition to this current setlist in my opinion. Plus, it is not as if Beyond the Wall of Sleep is particularly a stone cold classic anyway! N.I.B. is however. Butler's wah-drenched bass intro is legendary and when the band launched into the song proper the crowd were singing the riff along with Iommi. After Hand of Doom got a rare outing, there was a chance for Osbourne to have a bit of a break as the band ran through a short instrumental medley of Sabbath riffs, that ended with the instrumental Rat Salad and a monster drum solo from Tommy Clufetos. While of course it is a shame that founding drummer Bill Ward has not been with the band since the very early days of their recent re-grouping due a number of well-publicised financial reasons, there is no denying that Clufetos is an absolute monster of a drummer. On the subject of session musicians, we cannot forget keyboardist Adam Wakeman who plays his limited role (keyboards were never a big part of Sabbath's early sound) from the side of the stage - although he did nip on briefly for a wave when Osbourne was introducing the band. Iron Man followed the drum solo, and again saw the crowd singing along with Iommi's riff, before Dirty Women, the one song played not from the first four albums, brought about a bit of a proggy change of pace with a lengthy Iommi solo. The heavy classic Children of the Grave brought the main set to an end which saw plenty of headbang and movement to what is probably the heaviest song in the early Sabbath canon. There was of course time for one more as the crowd went 'fucking crazy' at Osbourne's instruction and they all trooped back out for Paranoid which became the band's unexpected big 'hit' back in the early 1970s. The setlist was:
Black Sabbath
Fairies Wear Boots
Under the Sun
After Forever
Into the Void
Snowblind
War Pigs
Behind the Wall of Sleep
N.I.B.
Hand of Doom
Supernaut/Sabbath Bloody Sabbath/Megalomania/Rat Salad
Drum solo
Iron Man
Dirty Women
Children of the Grave
-
Paranoid
Black Sabbath's influence on the world of music cannot be overstated. They really did change the world and all the bands I love today would not be around if it was not for them. I am glad that I got to see them do their thing one more time before they call it a day, and in their hometown in front of a sell-out crowd to boot! Thanks for all the music.
I was initially disappointed when Californian bluesy hard rockers Rival Sons were announced as the support act for the entirety of 'The End' tour. I had seen the band at the High Voltage Festival back in 2011 and thought that they were quite bland, but in fairness that was six years ago and the band has since become pretty popular and well-liked in their own right with five full-length albums to their name now. I was open to giving them another shot however, and from the off they really impressed. Since that High Voltage slot they have grown into a tight, confident, and powerful live band who were easily louder than Black Sabbath during their entire set and really seemed to win the crowd around by the end. The addition of keyboards to their sound since 2011 really helped, as Todd Ögren-Brooks (keyboards/percussion/vocals) washings of retro-sounding rock organ really added to the band's early 1970s hard rock sound. The focus of the band however is clearly the duo of frontman Jay Buchanan, who has a fantastic bluesy voice, and guitarist Scott Holiday. Holiday's playing incorporates lots of tasteful slide solos, which again adds to that 1970s sound. I really like it when a band proves you wrong, and it does make me wonder what I have been missing out on gig-wise over the past six years! It would appear that I have some serious catching up to do!
Despite that set from Rival Sons, it was of course Black Sabbath that everyone was here to see. As the lights went down a suitably cheesy video was projected onto the curtain, and it rose as the band launched into the self-titled track, the opening song from that defining 1970 album. The demonic tritone riff, and Geezer Butler's (bass guitar) occult-themed lyrics sung from frontman Ozzy Osbourne's haunting voice set scene for the rest of the show perfectly as fire was ablaze atop the guitar amps. I have to say however that the atmosphere during this opening number was ruined somewhat by an endless stream of people ambling up the stairs with tonnes of drinks trying to find their seats and just generally acting like mindless drones. It really is not hard to find seats in these venues, they are all clearly numbered, and I find it rude when people leave it until literally the last second to make it to them and talk to their friends loudly disrupting everyone else while doing so! Anyway, this soon calmed down and the rest of us were left to enjoy what proved to be a masterful evening of heavy metal from the Godfathers of the genre. The set was packed full of classics, as you would expect on a farewell tour, with all but one song (and a short instrumental medley) coming from the band's iconic first four albums. Early highlights for me were the foot-stomping Fairies Wear Boots, with that excellent psychedelic instrumental intro, and a personal favourite in the form of After Forever, a song not played on their 2013 tour. Much of the set was the same as the last show, but the songs are all so classic that this hardly seemed to matter. The opening riff of Into the Void is still one of the most metal things of all time, and seeing Iommi play it again, despite being quite near the back of the venue this time, was a treat. The crowd was easily at their loudest of the evening during War Pigs where Osbourne often held out the microphone to allow the crowd to sing for him and they more than answered the call into service.
There was a bit of an off moment when Osbourne was announcing Beyond the Wall of Sleep that they are only playing the classics as 'no-one gives a shit about the new album'. While this might be true of many fair weather Sabbath fans, I am sure there were many in the Genting Arena that bought and enjoyed 13 very much. It topped the album charts after all so someone must have bought it! It is a shame that many older bands feel they have to just play the classics over and over to appease the casual fans. A song or two from 13 would have been a really welcome addition to this current setlist in my opinion. Plus, it is not as if Beyond the Wall of Sleep is particularly a stone cold classic anyway! N.I.B. is however. Butler's wah-drenched bass intro is legendary and when the band launched into the song proper the crowd were singing the riff along with Iommi. After Hand of Doom got a rare outing, there was a chance for Osbourne to have a bit of a break as the band ran through a short instrumental medley of Sabbath riffs, that ended with the instrumental Rat Salad and a monster drum solo from Tommy Clufetos. While of course it is a shame that founding drummer Bill Ward has not been with the band since the very early days of their recent re-grouping due a number of well-publicised financial reasons, there is no denying that Clufetos is an absolute monster of a drummer. On the subject of session musicians, we cannot forget keyboardist Adam Wakeman who plays his limited role (keyboards were never a big part of Sabbath's early sound) from the side of the stage - although he did nip on briefly for a wave when Osbourne was introducing the band. Iron Man followed the drum solo, and again saw the crowd singing along with Iommi's riff, before Dirty Women, the one song played not from the first four albums, brought about a bit of a proggy change of pace with a lengthy Iommi solo. The heavy classic Children of the Grave brought the main set to an end which saw plenty of headbang and movement to what is probably the heaviest song in the early Sabbath canon. There was of course time for one more as the crowd went 'fucking crazy' at Osbourne's instruction and they all trooped back out for Paranoid which became the band's unexpected big 'hit' back in the early 1970s. The setlist was:
Black Sabbath
Fairies Wear Boots
Under the Sun
After Forever
Into the Void
Snowblind
War Pigs
Behind the Wall of Sleep
N.I.B.
Hand of Doom
Supernaut/Sabbath Bloody Sabbath/Megalomania/Rat Salad
Drum solo
Iron Man
Dirty Women
Children of the Grave
-
Paranoid
Black Sabbath's influence on the world of music cannot be overstated. They really did change the world and all the bands I love today would not be around if it was not for them. I am glad that I got to see them do their thing one more time before they call it a day, and in their hometown in front of a sell-out crowd to boot! Thanks for all the music.
Wednesday, 1 February 2017
Firewind's 'Immortals' - Album Review
It has been a while since the world heard from Firewind. It has been five years since the Greek power metal band's last album, 2012's Few Against Many, and the band has largely been on hiatus since concluding the touring cycle for that album at the end of 2012. The following year longstanding frontman Apollo Papathanasio, who joined Firewind in 2006 and recorded four albums with the band, left citing the reason that he could no longer keep up with the band's touring schedules (although I would not be surprised if he was actually fired for similar reasons). While Papathanasio was never the genre's most powerful singer, he was a captivating singer with a distinct voice that added a certain bluesy element to Firewind's sound. There is no doubt that the band grew in stature with him at the microphone, and was certainly one of the reasons for the band's growing popularity during his 12 year membership. It was clear that Firewind had become stuck in a bit of a rut by this point however. Few Against Many, while containing some really excellent songs, was certainly weaker than much of what the band had put out before. I think part of the problem was that bandleader and guitarist Gus G. was burning the candle at both ends at the time. While G. was certainly used to being in a number of bands at any one time (he has been involved with Dream Evil, Nightrage, Mystic Prophecy, and Arch Enemy throughout his career), the demands of joining Ozzy Osbourne's band in 2009 was clearly taking it's toll. While this was a fantastic opportunity for him, and exposed him to a much greater audience, Firewind's activity was hurt in the process. Firewind has always been G.'s 'home', and the main output for his songwriting since 2002, and it was sad to see it put on the back burner. Ironically, a huge Black Sabbath reunion has limited G.'s involvement with Osbourne since 2012, but Firewind was still largely dormant. Some shows were performed in 2013 with Kelly Carpenter (Beyond Twilight; Adagio) taking the vocalist spot, but since then G. decided to focus on a solo career releasing two solo albums with a myriad of guest vocalists and touring under his own name. Both of these albums, while good, took on more of a modern alternative rock sound to the meaty power metal of his best-known band and reception to them was mixed. Fans were clamouring for more Firewind. Things started to look more hopeful in 2015 when Henning Basse (Metalium; Sons of Seasons; MaYaN) was announced as the band's new singer (he had previous played a few shows with Firewind in 2007 filling in Papathanasio), but it would take well over a year for some new Firewind material to surface. A few festival shows were played last year but the band's focus has mostly been recording Immortals, the band's eight studio album. Fans waiting with baited breath can rest east, as Immortals is excellent and exactly the sort of album the band should be making with a powerful frontman like Basse at the helm. It is easily the band's best work since 2008's The Premonition and harks back to the band's earlier, heavier sound with more emphasis on G.'s thrashy riffs and Basse's gritty vocal delivery. This is helped by a massive, guitar-heavy production courtesy of Dennis Ward, who incidentally also co-wrote many of the songs on the album.
Album opener Hands of Time gets the album off to a flying start as Firewind forego the customary dramatic instrumental intro and hit the listener square on with a soaring melodic guitar lead and a barrage of double bass drumming from Jo Nunez. From the outset it is clear that Basse is the right man to front Firewind. His vocals are more reminiscent of former frontman Chitral Somapala's than Papathanasio's, so comparisons to the band's underrated Forged by Fire from 2005 can easily be drawn. The song is your fairly typical power metal anthem, with a soaring chorus and strong melodies, but it really hits the spot in a way that much of Few Against Many failed to do. Unusually it is keyboardist Bob Katsionis that gets the first chance to solo, with a fluid and melodic run of notes that shows he is more than capable of keeping up with G.'s shredding (which soon follows) and that he is the perfect foil for the guitarists skills. We Defy opens with a muscular riff that reeks of G.'s trademark style, and soon turns into a dynamic metal song with a good mix of upbeat fast sections, and heavier slower parts. Basse's vocal howls really jump out of the speakers, but it is on the slower sections that form part of the chorus that he really shines with a menacingly gritty performance that really brings the song to life. A lengthy guitar solo dominates the middle of the song, and shows off G.'s knack for crafting solos that are technically complex but still packed full of melody. Ode to Leonidas, the song chosen to shoot a video for, opens with a dramatic and delightfully cheesy spoken word section performed by Paul Logue (Eden's Curse), where he seems to be trying to do an impression of Sir Winston Churchill's famous war speeches, which sets up the epic song that follows perfectly. This is easily my favourite song on the album, and it one of the best songs the band have written in quite a while. It contains everything that makes Firewind great: a tough guitar riff, a commanding vocal performance, and everything is all tied together with Katsionis' keyboard playing that provides a symphonic backing and melodic riffs throughout. It also helps that the chorus is the real winner, with some strong gang vocal sections which are guaranteed to go down well live, and soaring melodies that show Basse can belt out melodic tune as well as he can do grit and power. Despite the heroic keyboard intro, Back on the Throne sees Firewind channelling classic Megadeth with an overall thrashy feel and a riff that sounds like something Dave Mustaine would have come up with in the late 1980s. It works well for the band however, with bassist Petros Christo particularly standing out with a bulky and driving bassline that propels the song along nicely. Without a real chorus, the song really whizzes by as riff after riff drives the song with furious urgency. The highlight is the guitar solo, which is actually initially at a slower pace than the rest of the song but it gradually speeds up to a shredded climax. Live and Die by the Sword opens with a delicate acoustic guitar melody, and the song gradually builds up around it with some excellent vocals from Basse that range from gentle to soaring power as the song really hits the stride with a fist-pumping rhythm and a strong mid-paced groove. Elsewhere, an uplifting chorus proves to be a fun one with plenty of big vocal harmonies in true power metal tradition.
As Wars of Ages is one of only two songs on the album co-written by Katsionis, it is unsurprising that his keyboards are more prominent. The song opens with a keyboard riff, and they remain prominent throughout helping to boost G.'s guitar riffing with strong counter-melodies. The song is less heavy overall too, with more of a strong melodic metal feel, and boasts one of the album's best choruses which is driven by some very fast drumming. The guitar solo is excellent too, with some seriously technical neo-classical runs that even Yngwie Malmsteen might struggle to pull off! Power metal albums always need a ballad, and often they can be throwaway offerings, but Lady of 1000 Sorrows is anything but filler. I would go as far to say that it is my second favourite song on the album, and really brings out another side of Basse's vocals as he adopts more of an 1980s heavy metal singer vibe with hints of David Coverdale's bluesy delivery. The verses are laid back, with chiming clean guitar melodies and a subtle keyboard backing, but the choruses really take off with Basse's harmonised vocals and emotionally-drenched melodies. It is an absolute classic power ballad with a chorus that is sure to get stuck in your head for days and a true class that many power metal bands fail to achieve. In case anyone was wondering if G. had gone soft, fear not as up next is the blistering instrumental title track that showcases all of his riffing and shredding abilities. It is just shy of two minutes long, but it is packed full of as many riffs and moments of draw-dropping shredding as you will find on most average metal albums. Katsionis' ominous keyboards provide the perfect backing to G.'s demonic guitar pyrotechnics, and Nunez' drums provide the perfect driving force with his speed and diversity. This leads almost instantly into Warriors and Saints, which has a fast-paced shredded intro which is not far removed from the themes covered in Immortals. When the vocals kick in however, the song takes on more of a grungy feel with a fuzzy slower riffs and Basse's low vocals. This is similar to the style the band attempted to perfect on Few Against Many and this is a song that would probably sit quite nicely on that album. While that style started to grate after a while, it actually works well when used sparingly as it is on this song. It provides the album with some dynamics and works well in contrast to the razor-sharp production found elsewhere on Immortals. The main album comes to a close with Rise from the Ashes, a mid-paced rocker that clearly has aspirations of the epic. On first listen, this was one of those songs that just went over my head but on repeated listens it has grown on me with the melodies creeping through into my brain. The choruses in particular are very strong, with plenty of stabs of melodic keyboard and Basse's commanding vocals. There is also a great twin-lead guitar riff towards the end which is a real tribute to Iron Maiden! That is not the true end of Immortals however, as the bonus track Vision of Tomorrow feels integral to the album's journey as apposed to a tacked-on weaker effort that many bands offer up as a bonus. This the other song co-written by Katsionis, so his keyboard playing is all over it. This song packs a real punch, and feels like the real conclusion of the album and reaches the heights that Rise from the Ashes probably does not quite reach. Overall, Immortals is a real come-back for Firewind and cements their place as one of power metal's most vital bands. It is great to have them back, and this album is a real statement from a band that had been treading water for a little while.
The album was released on 20th January 2017 via Century Media Records. Below is the band's promotional video for Ode to Leonidas.
Album opener Hands of Time gets the album off to a flying start as Firewind forego the customary dramatic instrumental intro and hit the listener square on with a soaring melodic guitar lead and a barrage of double bass drumming from Jo Nunez. From the outset it is clear that Basse is the right man to front Firewind. His vocals are more reminiscent of former frontman Chitral Somapala's than Papathanasio's, so comparisons to the band's underrated Forged by Fire from 2005 can easily be drawn. The song is your fairly typical power metal anthem, with a soaring chorus and strong melodies, but it really hits the spot in a way that much of Few Against Many failed to do. Unusually it is keyboardist Bob Katsionis that gets the first chance to solo, with a fluid and melodic run of notes that shows he is more than capable of keeping up with G.'s shredding (which soon follows) and that he is the perfect foil for the guitarists skills. We Defy opens with a muscular riff that reeks of G.'s trademark style, and soon turns into a dynamic metal song with a good mix of upbeat fast sections, and heavier slower parts. Basse's vocal howls really jump out of the speakers, but it is on the slower sections that form part of the chorus that he really shines with a menacingly gritty performance that really brings the song to life. A lengthy guitar solo dominates the middle of the song, and shows off G.'s knack for crafting solos that are technically complex but still packed full of melody. Ode to Leonidas, the song chosen to shoot a video for, opens with a dramatic and delightfully cheesy spoken word section performed by Paul Logue (Eden's Curse), where he seems to be trying to do an impression of Sir Winston Churchill's famous war speeches, which sets up the epic song that follows perfectly. This is easily my favourite song on the album, and it one of the best songs the band have written in quite a while. It contains everything that makes Firewind great: a tough guitar riff, a commanding vocal performance, and everything is all tied together with Katsionis' keyboard playing that provides a symphonic backing and melodic riffs throughout. It also helps that the chorus is the real winner, with some strong gang vocal sections which are guaranteed to go down well live, and soaring melodies that show Basse can belt out melodic tune as well as he can do grit and power. Despite the heroic keyboard intro, Back on the Throne sees Firewind channelling classic Megadeth with an overall thrashy feel and a riff that sounds like something Dave Mustaine would have come up with in the late 1980s. It works well for the band however, with bassist Petros Christo particularly standing out with a bulky and driving bassline that propels the song along nicely. Without a real chorus, the song really whizzes by as riff after riff drives the song with furious urgency. The highlight is the guitar solo, which is actually initially at a slower pace than the rest of the song but it gradually speeds up to a shredded climax. Live and Die by the Sword opens with a delicate acoustic guitar melody, and the song gradually builds up around it with some excellent vocals from Basse that range from gentle to soaring power as the song really hits the stride with a fist-pumping rhythm and a strong mid-paced groove. Elsewhere, an uplifting chorus proves to be a fun one with plenty of big vocal harmonies in true power metal tradition.
As Wars of Ages is one of only two songs on the album co-written by Katsionis, it is unsurprising that his keyboards are more prominent. The song opens with a keyboard riff, and they remain prominent throughout helping to boost G.'s guitar riffing with strong counter-melodies. The song is less heavy overall too, with more of a strong melodic metal feel, and boasts one of the album's best choruses which is driven by some very fast drumming. The guitar solo is excellent too, with some seriously technical neo-classical runs that even Yngwie Malmsteen might struggle to pull off! Power metal albums always need a ballad, and often they can be throwaway offerings, but Lady of 1000 Sorrows is anything but filler. I would go as far to say that it is my second favourite song on the album, and really brings out another side of Basse's vocals as he adopts more of an 1980s heavy metal singer vibe with hints of David Coverdale's bluesy delivery. The verses are laid back, with chiming clean guitar melodies and a subtle keyboard backing, but the choruses really take off with Basse's harmonised vocals and emotionally-drenched melodies. It is an absolute classic power ballad with a chorus that is sure to get stuck in your head for days and a true class that many power metal bands fail to achieve. In case anyone was wondering if G. had gone soft, fear not as up next is the blistering instrumental title track that showcases all of his riffing and shredding abilities. It is just shy of two minutes long, but it is packed full of as many riffs and moments of draw-dropping shredding as you will find on most average metal albums. Katsionis' ominous keyboards provide the perfect backing to G.'s demonic guitar pyrotechnics, and Nunez' drums provide the perfect driving force with his speed and diversity. This leads almost instantly into Warriors and Saints, which has a fast-paced shredded intro which is not far removed from the themes covered in Immortals. When the vocals kick in however, the song takes on more of a grungy feel with a fuzzy slower riffs and Basse's low vocals. This is similar to the style the band attempted to perfect on Few Against Many and this is a song that would probably sit quite nicely on that album. While that style started to grate after a while, it actually works well when used sparingly as it is on this song. It provides the album with some dynamics and works well in contrast to the razor-sharp production found elsewhere on Immortals. The main album comes to a close with Rise from the Ashes, a mid-paced rocker that clearly has aspirations of the epic. On first listen, this was one of those songs that just went over my head but on repeated listens it has grown on me with the melodies creeping through into my brain. The choruses in particular are very strong, with plenty of stabs of melodic keyboard and Basse's commanding vocals. There is also a great twin-lead guitar riff towards the end which is a real tribute to Iron Maiden! That is not the true end of Immortals however, as the bonus track Vision of Tomorrow feels integral to the album's journey as apposed to a tacked-on weaker effort that many bands offer up as a bonus. This the other song co-written by Katsionis, so his keyboard playing is all over it. This song packs a real punch, and feels like the real conclusion of the album and reaches the heights that Rise from the Ashes probably does not quite reach. Overall, Immortals is a real come-back for Firewind and cements their place as one of power metal's most vital bands. It is great to have them back, and this album is a real statement from a band that had been treading water for a little while.
The album was released on 20th January 2017 via Century Media Records. Below is the band's promotional video for Ode to Leonidas.
Sunday, 29 January 2017
Tyketto - Bristol Review
Tyketto are one of those bands who came along a little too late to really make an impact. Towards of the end of the 1980s there were lots of new melodic rock/AOR/hair metal bands formed in the wake of the giants of the genre's stadium-filling success, but they were all soon sadly chewed up by the onslaught of grunge and a changing musical and commercial landscape. One of these bands was Tyketto, who were formed in New York 1987. Despite releasing the acclaimed album Don't Come Easy in 1991, which brought them success and recognition both at home and abroad, the band endured a tough time from record companies and eventually called it a day in 1996. Various one-off reunions followed, and since 2008 there has been a permanent line-up of Tyketto out there touring again. There have been a few different members come and go during this time, but Tyketto has been held together in this time by founding members Danny Vaughn (vocals/guitar/percussion) and Michael Clayton (drums/vocals) who started the band together all the way back in 1987. 2012's Dig in Deep showed the band could still write great melodic rock songs, and their latest opus Reach, released last October, was extremely well-received and was included in many publications' Top 10 Albums of the Year. Tyketto have always been popular in the UK, so a tour to support the album's release was scheduled for last December, but a myriad of sad personal circumstances meant the tour had to be pushed back to January. This actually worked out well for me, as I was unable to make any of the dates on the original tour, and the fact that the rescheduled Bristol date fell on a Saturday made this gig an obvious choice. The venue was the Thekla, a converted boat moored in Bristol's Mud Dock is certainly a unique venue and a new one for me. I was worried that the confines of a boat might not make for the best live music venue, but the Thekla turned out to be a surprisingly good venue with an excellent sound system and a decent-sized stage for the size of the venue.
Before Tyketto's headline performance however the growing crowd was treated to half an hour of music by local band Pixi Encore. Being fronted by two ladies who sung most of the set in harmony together instantly set the band apart from many of your average support bands, and the two ladies added rock guitar over a jazzy rhythm section to create very interesting songs. Apparently they are usually joined by a violinist too, which I am sure would have added more to their sound, but she was absent from this show so they set had a more stripped-back rock vibe. Most of the songs were pretty poppy with prominent vocal lines, but some of the guitar work was surprisingly rocky with some decent riffs and even a few solos thrown in. While Pixi Encore are certainly not the sort of thing I would listen to, their quirkiness and strong songwriting stood out. Many of the songs had catchy choruses and, while the crowd seemed to take a while to warm to them, they probably made a few new fans with this strong performance. I also have to say that I thought their drummer was fantastic, with a real jazzy understated style that was reminiscent of those big band drummers of the 1950s!
After a fairly quick changeover, the lights went down and the crowd erupted. By this point there was quite a sizeable audience in the Thekla and the vast majority of those there were clearly dyed in the wool Tyketto fans who knew every word to very song! Crowds like this always create a fantastic atmosphere, and this one was no different with the fans getting behind every song played, old and new alike! The show started with a bang with Kick Like a Mule from the new album which is driven by Chris Green's (guitar/vocals) guitar riff and is one that allows Vaughn to really let rip vocally. While Vaughn is the obvious focal point of Tyketto, there were many moments throughout the evening where Green managed to steal the spotlight! My only previous experience of Tyketto live was a great show in 2014 in Wolverhampton which was one of Green's first with the band when he was filling in for founding member Brooke St. James. Now Green is a full member of the band, and his confidence has grown in spades since that show three years ago. He is a monster player, and the next number Wings certainly showed this as he played those tricky little riffs and lead breaks with ease. All five of the band's albums were represented in the set (even 1995's Shine which only Clayton of the current line-up actually played on) and there was a good balance of old and new throughout. Faithless from Dig in Deep was an early highlight and has one of the band's best choruses. It was sung back at the band with real passion by the crowd. In fact this, followed by the soaring new number I Need it Now and my personal favourite Tyketto number Burning Down Inside was probably the best part of the night! Burning Down Inside was another one that was loudly sung by the crowd, and from Ged Rylands' (keyboards/vocals) keyboard intro the place went wild. While this was the high point, the whole set could realistically be classed as the evening's 'high point'. There were no weak links in the set, with the band putting 100% into every song feeding of the crowd's energy. The new album's title track came across really well live, and the old power ballad Standing Alone was a small respite during a high-energy set and one that was beautifully received. The final new number played, Big Money, really came alive on stage. Green's guitar riff came roaring out of the speakers and Vaughn sung the politically-charged lyrics with genuine venom. Lay Your Body Down, the main set's penultimate number, turned into a real workout for the band. The crowd really got behind the choruses, and this seemed to spur the band onto even greater heights. The band's newest member Chris Childs (bass guitar), although he is someone that needs no introduction to British rock fans, took centre stage during it for a lengthy and explosive bass solo that seemed to leave even some of the band shocked. The set came to an end with the melodic Love to Love from Dig in Deep which was also extended with a lengthy outro solo from Green, where even breaking a string did not stop him from shredding his heart out! Despite the fact the curfew had been reached, there was of course time for one more and the band came back out for their signature song Forever Young which was of course greeted with huge cheers from the crowd and ensured that an already-triumphant set was brought to a strong close. The setlist was:
Kick Like a Mule
Wings
Rescue Me
Faithless
I Need it Now
Burning Down Inside
Meet Me in the Night
Reach
Dig in Deep
Standing Alone
Catch My Fall
Let it Go
Big Money
Lay Your Body Down
Love to Love
-
Forever Young
While the show three years ago in Wolverhampton was great, this show eclipsed it! The current line-up seem really locked in with each other now, and the energy created on stage showed this and really brought a reaction from the crowd. Vaughn said from the stage that they would be coming out to the merch desk after the show, but the security saw fit to eject everyone from the venue almost straight away which was a real shame. However, I managed to get Green, Childs, and Rylands' autographs on my copy of Reach outside the venue but it was too cold to stand around and wait for the others - maybe next time! Vaughn also hinted that Tyketto would come back to the UK at the end of the year, so I hope that turns out to be the case.
Before Tyketto's headline performance however the growing crowd was treated to half an hour of music by local band Pixi Encore. Being fronted by two ladies who sung most of the set in harmony together instantly set the band apart from many of your average support bands, and the two ladies added rock guitar over a jazzy rhythm section to create very interesting songs. Apparently they are usually joined by a violinist too, which I am sure would have added more to their sound, but she was absent from this show so they set had a more stripped-back rock vibe. Most of the songs were pretty poppy with prominent vocal lines, but some of the guitar work was surprisingly rocky with some decent riffs and even a few solos thrown in. While Pixi Encore are certainly not the sort of thing I would listen to, their quirkiness and strong songwriting stood out. Many of the songs had catchy choruses and, while the crowd seemed to take a while to warm to them, they probably made a few new fans with this strong performance. I also have to say that I thought their drummer was fantastic, with a real jazzy understated style that was reminiscent of those big band drummers of the 1950s!
After a fairly quick changeover, the lights went down and the crowd erupted. By this point there was quite a sizeable audience in the Thekla and the vast majority of those there were clearly dyed in the wool Tyketto fans who knew every word to very song! Crowds like this always create a fantastic atmosphere, and this one was no different with the fans getting behind every song played, old and new alike! The show started with a bang with Kick Like a Mule from the new album which is driven by Chris Green's (guitar/vocals) guitar riff and is one that allows Vaughn to really let rip vocally. While Vaughn is the obvious focal point of Tyketto, there were many moments throughout the evening where Green managed to steal the spotlight! My only previous experience of Tyketto live was a great show in 2014 in Wolverhampton which was one of Green's first with the band when he was filling in for founding member Brooke St. James. Now Green is a full member of the band, and his confidence has grown in spades since that show three years ago. He is a monster player, and the next number Wings certainly showed this as he played those tricky little riffs and lead breaks with ease. All five of the band's albums were represented in the set (even 1995's Shine which only Clayton of the current line-up actually played on) and there was a good balance of old and new throughout. Faithless from Dig in Deep was an early highlight and has one of the band's best choruses. It was sung back at the band with real passion by the crowd. In fact this, followed by the soaring new number I Need it Now and my personal favourite Tyketto number Burning Down Inside was probably the best part of the night! Burning Down Inside was another one that was loudly sung by the crowd, and from Ged Rylands' (keyboards/vocals) keyboard intro the place went wild. While this was the high point, the whole set could realistically be classed as the evening's 'high point'. There were no weak links in the set, with the band putting 100% into every song feeding of the crowd's energy. The new album's title track came across really well live, and the old power ballad Standing Alone was a small respite during a high-energy set and one that was beautifully received. The final new number played, Big Money, really came alive on stage. Green's guitar riff came roaring out of the speakers and Vaughn sung the politically-charged lyrics with genuine venom. Lay Your Body Down, the main set's penultimate number, turned into a real workout for the band. The crowd really got behind the choruses, and this seemed to spur the band onto even greater heights. The band's newest member Chris Childs (bass guitar), although he is someone that needs no introduction to British rock fans, took centre stage during it for a lengthy and explosive bass solo that seemed to leave even some of the band shocked. The set came to an end with the melodic Love to Love from Dig in Deep which was also extended with a lengthy outro solo from Green, where even breaking a string did not stop him from shredding his heart out! Despite the fact the curfew had been reached, there was of course time for one more and the band came back out for their signature song Forever Young which was of course greeted with huge cheers from the crowd and ensured that an already-triumphant set was brought to a strong close. The setlist was:
Kick Like a Mule
Wings
Rescue Me
Faithless
I Need it Now
Burning Down Inside
Meet Me in the Night
Reach
Dig in Deep
Standing Alone
Catch My Fall
Let it Go
Big Money
Lay Your Body Down
Love to Love
-
Forever Young
While the show three years ago in Wolverhampton was great, this show eclipsed it! The current line-up seem really locked in with each other now, and the energy created on stage showed this and really brought a reaction from the crowd. Vaughn said from the stage that they would be coming out to the merch desk after the show, but the security saw fit to eject everyone from the venue almost straight away which was a real shame. However, I managed to get Green, Childs, and Rylands' autographs on my copy of Reach outside the venue but it was too cold to stand around and wait for the others - maybe next time! Vaughn also hinted that Tyketto would come back to the UK at the end of the year, so I hope that turns out to be the case.
Monday, 16 January 2017
Sabaton - London Review
Sabaton are one of those bands who seem to get bigger and bigger by the day. While power metal in general is in decline, or reduced to cult status, the Swedish band have managed to transcend this trend and have become household names now for even the most casual of metalhead. Their high-energy live shows are definitely a big factor in their growing popularity, and their willingness to tour anywhere and everywhere has certainly earned them plenty of respect. The last headline show of Sabaton's that I saw was in the small Hub venue in Plymouth, as part of an extensive UK tour in 2014 that took in many places off the usual beaten track. They were far too big for many of the venues they played, but this did not deter them and they stirred up excitement in clubs up and down the country. The next year I saw them at Bloodstock Open Air, as special guests to Friday night headliners Trivium, where Sabaton played to one of the biggest crowds of the weekend and were easily one of the bands of the festival. This current European tour, dubbed The Last Tour as it is in support of latest album The Last Stand, only took in a handful of UK dates this time around, but they were in venues that were far better suited to Sabaton's stature and ever-growing stage show. Their venue of choice in London was the large O2 Academy in Brixton, a venue I have only been to a couple of times before but is, I think, one of the better venues for live music in the city. The sloping floor ensures a good view wherever you stand, and the sound is always very clear. While the Academy was not sold out, there was still a very large crowd gathered throughout the evening, and the atmosphere throughout was excellent.
Fellow Swedish power metal rising stars Twilight Force must have hit the stage the minute the doors opened, as I could hear Battle of Arcane Might spilling out of the venue as I was still in the queue, but they treated the growing crowd to half an hour or so of their over-the-top Rhapsody of Fire-esque bombastic metal. It was only back in October that I last the band, as they supported Sonata Arctica at the Shepherd's Bush Empire, but this performance was stronger overall. The sound for one was better, and their complex, multi-layered sound sounded fresh and exciting, and much more dynamic than on their overly-compressed studio albums. Frontman Chrileon in particular impressed this time, with his high-pitched voice cutting easily through the swathes of metal beneath him and he managed to get the ever-growing crowd interested on what the band were doing. Flight of the Sapphire Dragon was one of the highlights of the set, with Lynd's (guitar) plentiful neo-classical soloing providing some of the best pure musical moments of the evening. The real highlight however was the anthemic Gates of Glory, a song with a massive chorus, and one that many in the crowd already seemed to know. Twilight Force are really starting to make a name for themselves now, and I doubt it will be too long before they attempt some UK headline dates of their own. The setlist was:
Battle of Arcane Might
To the Stars
Riders of the Dawn
Flight of the Sapphire Dragon
Gates of Glory
The Power of the Ancient Force
Knights of Twilight's Might
By the time special guests Accept hit the stage, the Academy was pretty much full and I am sure there were many in attendance who were there mainly to see the German Invasion-leading legends. The fact that Sabaton can get such a well-loved and influential band to support them speaks volumes of their popularity, but Accept treated it as their own show and went out there to wow everyone in attendance. With an industrial-themed backdrop the band stormed through an hour of heavy metal classics, mixed in with newer songs from their critically acclaimed recent run of albums, and had the whole crowd on side by the end. Frontman Mark Tornillo has given the band a real shot in the arm, and his rasping voice and strong stage presence is part of what makes the band so good live. Newer songs Stampede and Stalingrad got the set off to a great set, before the crowd were given a heavy metal history listen with the classics Restless and Wild and London Leatherboys. The latter in particularly impressed, with the whole band providing gang vocals throughout the catchy chorus, as founding member Wolf Hoffmann's (guitar/vocals) jackhammer riffs drove everything. Hoffmann actually took the spotlight more than Tornillo, often standing on a riser at the front of the stage to peel off solo after solo. New recruit Uwe Lulis (guitar/vocals) was content to stick to rhythm, but did join Hoffman on the riser for the dual solo in the ultra-classic anthem Fast as a Shark which was sung loudly by the enthusiastic crowd. This song was also a showcase for new drummer Christopher Williams who played the thrashy intro with ease, and just generally gave one of the tightest and well-disciplined sets of heavy metal drumming I have seen in a while. While the whole set was great, it ended particularly strongly. Teutonic Terror is probably the most well-known of their newer songs, and it was greeted by the crowd like an old friend, before their signature anthem Balls to the Wall saw the biggest crowd sing-along of the night up to that point. As predicted, Accept's set was a triumph and I hope some of the younger members of the crowd that might not have been familiar with the band's music before the show are now converted fans! The setlist was:
Stampede
Stalingrad
Restless and Wild
London Leatherboys
Final Journey
Princess of the Dawn
Fast as a Shark
Metal Heart
Teutonic Terror
Balls to the Wall
If anyone did not know what Sabaton were about, one look at their military-themed stage set would instantly give the game away. Sabaton's songs are all mini history lessons, telling stories of bravery and sorrow in war. This USP, combined with their high-energy stage presence, makes a Sabaton show always a spectacle, and this was no different. From the ever-present set opener Ghost Division, which opened with plenty of pyro and bangs, to the last notes of the encore, this was a top quality evening of live heavy metal and probably the best Sabaton show to date that I have seen. With a new album out, the setlist has undergone a rather large revamp, with many songs that have been ever-present for years seeing a well-earned rest. In fact, this was a very forward-looking set, with 10 of the 17 numbers played coming from the band's most recent two albums. The mid-paced fist-pumping anthem Sparta was the first of the new songs played and saw frontman Joakim Brodén, adorned in a Spartan helmet and cape, really get the crowd going. The song's chorus is made to be heard live and it did not disappoint! This was also the first Sabaton show I have seen with new boy Tommy Johansson (guitar/keyboards/vocals) and he acquitted himself very well with plenty of fluid soloing throughout the evening. Old and new songs sat well together throughout the set, and there were countless highlights for me. One of the early ones was The Last Stand's title track, which is one of my favourites from the new album, and it rocked the house like I always knew it would. The song's co-writer Chris Rörland (guitar/vocals) seemed even more animated during this one, and his solo came tearing out of the blocks with real melody. Halfway through the set the band performed The Final Solution acoustically, something which is very different from something you usually get at a Sabaton show. Johansson was behind the piano for this one, and the stripped back arrangement really helped bring the sombreness of the song's subject matter out even more. It was business as usual after this however, and when drummer Hannes van Dahl clambered back atop his tank drum riser after the little rest bite it was full steam ahead with Resist and Bite, with Brodén picking up a guitar to help bulk out the sound, and then Night Witches and The Lion from the North which are both fast-paced power metal tracks that always get the crowd going. The pace slowed a little again for the groove-based and rhythmic The Lost Battalion, before the rarely-played Union (Slopes of St.Benedict) brought the main set to a surprising but uplifting end. The roar of the crowd ensured there was more, and the ever-present Primo Victoria saw probably the largest amount of crowd noise and movement of the night. It is always one of the defining songs of a Sabaton show, and at this night in London it was no different. The show then came to an end with two newer numbers, Shiroyama from the new album and To Hell and Back from 2014's Heroes. The crowd was just as wild for these songs as they were for the older numbers, which shows that Sabaton's catalogue is great from front to back. They left the stage to a huge cheer, and once again showed why they are one of the most explosive live bands on the planet at the moment. The setlist was:
The March to War
Ghost Division
Sparta
Blood of Bannockburn
Swedish Pagans
Carolus Rex
The Last Stand
Far from the Fame
Winged Hussars
The Final Solution
Resist and Bite
Night Witches
Dominium Maris Baltici
The Lion from the North
Diary of an Unknown Solider
The Lost Battalion
Union (Slopes of St. Benedict)
-
Primo Victoria
Shiroyama
To Hell and Back
As predicted, this was a fantastic evening of live metal from three bands who gave it their all. While 2017 is not yet a month old, I would not be surprised to see this gig in my Gigs of the Year list when it comes to writing that come December!
Fellow Swedish power metal rising stars Twilight Force must have hit the stage the minute the doors opened, as I could hear Battle of Arcane Might spilling out of the venue as I was still in the queue, but they treated the growing crowd to half an hour or so of their over-the-top Rhapsody of Fire-esque bombastic metal. It was only back in October that I last the band, as they supported Sonata Arctica at the Shepherd's Bush Empire, but this performance was stronger overall. The sound for one was better, and their complex, multi-layered sound sounded fresh and exciting, and much more dynamic than on their overly-compressed studio albums. Frontman Chrileon in particular impressed this time, with his high-pitched voice cutting easily through the swathes of metal beneath him and he managed to get the ever-growing crowd interested on what the band were doing. Flight of the Sapphire Dragon was one of the highlights of the set, with Lynd's (guitar) plentiful neo-classical soloing providing some of the best pure musical moments of the evening. The real highlight however was the anthemic Gates of Glory, a song with a massive chorus, and one that many in the crowd already seemed to know. Twilight Force are really starting to make a name for themselves now, and I doubt it will be too long before they attempt some UK headline dates of their own. The setlist was:
Battle of Arcane Might
To the Stars
Riders of the Dawn
Flight of the Sapphire Dragon
Gates of Glory
The Power of the Ancient Force
Knights of Twilight's Might
By the time special guests Accept hit the stage, the Academy was pretty much full and I am sure there were many in attendance who were there mainly to see the German Invasion-leading legends. The fact that Sabaton can get such a well-loved and influential band to support them speaks volumes of their popularity, but Accept treated it as their own show and went out there to wow everyone in attendance. With an industrial-themed backdrop the band stormed through an hour of heavy metal classics, mixed in with newer songs from their critically acclaimed recent run of albums, and had the whole crowd on side by the end. Frontman Mark Tornillo has given the band a real shot in the arm, and his rasping voice and strong stage presence is part of what makes the band so good live. Newer songs Stampede and Stalingrad got the set off to a great set, before the crowd were given a heavy metal history listen with the classics Restless and Wild and London Leatherboys. The latter in particularly impressed, with the whole band providing gang vocals throughout the catchy chorus, as founding member Wolf Hoffmann's (guitar/vocals) jackhammer riffs drove everything. Hoffmann actually took the spotlight more than Tornillo, often standing on a riser at the front of the stage to peel off solo after solo. New recruit Uwe Lulis (guitar/vocals) was content to stick to rhythm, but did join Hoffman on the riser for the dual solo in the ultra-classic anthem Fast as a Shark which was sung loudly by the enthusiastic crowd. This song was also a showcase for new drummer Christopher Williams who played the thrashy intro with ease, and just generally gave one of the tightest and well-disciplined sets of heavy metal drumming I have seen in a while. While the whole set was great, it ended particularly strongly. Teutonic Terror is probably the most well-known of their newer songs, and it was greeted by the crowd like an old friend, before their signature anthem Balls to the Wall saw the biggest crowd sing-along of the night up to that point. As predicted, Accept's set was a triumph and I hope some of the younger members of the crowd that might not have been familiar with the band's music before the show are now converted fans! The setlist was:
Stampede
Stalingrad
Restless and Wild
London Leatherboys
Final Journey
Princess of the Dawn
Fast as a Shark
Metal Heart
Teutonic Terror
Balls to the Wall
If anyone did not know what Sabaton were about, one look at their military-themed stage set would instantly give the game away. Sabaton's songs are all mini history lessons, telling stories of bravery and sorrow in war. This USP, combined with their high-energy stage presence, makes a Sabaton show always a spectacle, and this was no different. From the ever-present set opener Ghost Division, which opened with plenty of pyro and bangs, to the last notes of the encore, this was a top quality evening of live heavy metal and probably the best Sabaton show to date that I have seen. With a new album out, the setlist has undergone a rather large revamp, with many songs that have been ever-present for years seeing a well-earned rest. In fact, this was a very forward-looking set, with 10 of the 17 numbers played coming from the band's most recent two albums. The mid-paced fist-pumping anthem Sparta was the first of the new songs played and saw frontman Joakim Brodén, adorned in a Spartan helmet and cape, really get the crowd going. The song's chorus is made to be heard live and it did not disappoint! This was also the first Sabaton show I have seen with new boy Tommy Johansson (guitar/keyboards/vocals) and he acquitted himself very well with plenty of fluid soloing throughout the evening. Old and new songs sat well together throughout the set, and there were countless highlights for me. One of the early ones was The Last Stand's title track, which is one of my favourites from the new album, and it rocked the house like I always knew it would. The song's co-writer Chris Rörland (guitar/vocals) seemed even more animated during this one, and his solo came tearing out of the blocks with real melody. Halfway through the set the band performed The Final Solution acoustically, something which is very different from something you usually get at a Sabaton show. Johansson was behind the piano for this one, and the stripped back arrangement really helped bring the sombreness of the song's subject matter out even more. It was business as usual after this however, and when drummer Hannes van Dahl clambered back atop his tank drum riser after the little rest bite it was full steam ahead with Resist and Bite, with Brodén picking up a guitar to help bulk out the sound, and then Night Witches and The Lion from the North which are both fast-paced power metal tracks that always get the crowd going. The pace slowed a little again for the groove-based and rhythmic The Lost Battalion, before the rarely-played Union (Slopes of St.Benedict) brought the main set to a surprising but uplifting end. The roar of the crowd ensured there was more, and the ever-present Primo Victoria saw probably the largest amount of crowd noise and movement of the night. It is always one of the defining songs of a Sabaton show, and at this night in London it was no different. The show then came to an end with two newer numbers, Shiroyama from the new album and To Hell and Back from 2014's Heroes. The crowd was just as wild for these songs as they were for the older numbers, which shows that Sabaton's catalogue is great from front to back. They left the stage to a huge cheer, and once again showed why they are one of the most explosive live bands on the planet at the moment. The setlist was:
The March to War
Ghost Division
Sparta
Blood of Bannockburn
Swedish Pagans
Carolus Rex
The Last Stand
Far from the Fame
Winged Hussars
The Final Solution
Resist and Bite
Night Witches
Dominium Maris Baltici
The Lion from the North
Diary of an Unknown Solider
The Lost Battalion
Union (Slopes of St. Benedict)
-
Primo Victoria
Shiroyama
To Hell and Back
As predicted, this was a fantastic evening of live metal from three bands who gave it their all. While 2017 is not yet a month old, I would not be surprised to see this gig in my Gigs of the Year list when it comes to writing that come December!
Sunday, 15 January 2017
Avenged Sevenfold - Birmingham Review
While I would never class myself as a die-hard fan, I have always enjoyed Avenged Sevenfold's music. From their humble metalcore beginnings to their current progressive leanings, Avenged Sevenfold have always created interesting music packed full of melody and attitude. They are of of the best mainstream metal bands around these days, and the fact that they are now able to undertake an arena tour in the UK shows just how popular and well-loved they are. The band's latest album The Stage, released without fanfare last October, shows the band pushing forward into new territories for them and is an album that is truly progressive and packed full of creative songwriting. It gives me hope for the future of rock and metal music when a band as big as Avenged Sevenfold can create an album so diverse and challenging. While better songs exist elsewhere in their catalogue, hearing The Stage gave me an all-new level of respect for the band of songwriters and musicians - and I feel it is the album that has finally allowed them to step out of the shadow of their sadly departed drummer and key songwriter James 'The Rev' Sullivan. While Avenged Sevenfold are a big band now, arena shows are always better with a great undercard to support the headliners. Providing that in this instance were American alternative metal legends Disturbed and Swedish melodic metallers In Flames. Birmingham's Genting Arena is always a good place to see live music, and the sound throughout the evening was mostly pretty good. Unsurprisngly, the place was pretty full too. Only really the back portion of the seats were not full, with the side seating and the floor being full of people.
In Flames were on first and I have to say I found them quite disappointing. In Flames are one of the bands who helped bring melodic death metal to the masses during the 1990s, but their sound over the past decade or so has evolved to take on more of a alternative metal vibe, losing much of their heaviness. While I have never been their biggest fan, I do own a few of their albums and was looking forward to seeing what they were like live. Unfortunately, the sound did little to help them and it was the only time during the evening where I felt the sound was less than acceptable. They sounded extremely muddy throughout, and did not seem to really perform with much energy at all which is a shame to see from a metal band. They were not on stage long, probably not much longer than half an hour, and I have to say I was glad when they walked off after their set.
Disturbed were another story however and really got the crowd excited during their hour long set that contained material from all of their albums and a fantastic stage show that matched the intensity of their songs. Dan Donegan (guitar/keyboards/vocals) appeared on stage alone to play the short instrumental The Eye of the Storm before the band joined him and crashed in Immortalized from their most recent album. Frontman David Draiman prowled the stage all night, making good use of the catwalk, and interacted well with the crowd. It is fair to say that the whole front portion of the crowd, as well as many others, were well and truly enchanted by him, and he led the band through a triumphant set that contained all of their best-known songs. Old classics like The Game sat perfectly alongside newer numbers like The Vengeful One, and the set flowed well. The Animal was included in the set at the request of an ill fan the band had met earlier in the day, before the old classic Stupify brought the first half of the set to a close. Their cover of Simon & Garfunkel's The Sound of Silence has brought the band a lot of attention recently, and as expected it was performed live with plenty of emotion as the band were joined by a string section and an additional guitarist. After this the set was basically just packed full of classics, including Inside the Fire, with accompanying pyro, and the ultra-melodic Stricken. Their set came to an end with arguably their best-known song Down with the Sickness which had the vast majority of people in the crowd singing along at the band's request. While I would only really classify myself as a casual fan of Disturbed, this was an extremely powerful performance from the band and they showed why they have the strong reputation that they do. The setlist was:
The Eye of the Storm
Immortalized
The Game
The Vengeful One
Prayer
Liberate
The Animal
Stupify
The Sound of Silence [Simon & Garfunkel cover]
Inside the Fire
The Light
Stricken
Indestructible
Ten Thousand Fists
Down with the Sickness
While I think Disturbed were probably the main event for more than a few people in the arena, Avenged Sevenfold were the headliners and received the biggest reception of the night. With a space-themed stage set to suit the themes explored in their new album, the band kicked off with The Stage and followed it up with a two hour set featuring songs from all seven of their albums. The lengthy opening number proved to be a strong set-opener, and the majority of the songs played from The Stage fit in well and came across well live. It was the older songs that received the biggest cheers however, with Afterlife and Hail to the King really getting the crowd going early on. While frontman M. Shadows is undeniably the band's focal point, and he turned in an excellent vocal display throughout, it is Synyster Gates (guitar/vocals) who stole the show with countless excellent guitar solos throughout the evening. He is one of the best mainstream metal guitarists these days, and this performance helped to cement that. Paradigm from the new album was also well-received, but it was the golden oldie Chapter Four that received one of the biggest cheers of the early set. Shadows sung the chorus with real venom as he was helped out by the large crowd. Of all of the new songs played, I felt that the ballad Angels was the only one that fell flat. It is just not one of the band's most memorable songs, and this showed when it was part of a set as strong as this one. The band have done better ballads in the past, and another one would have probably worked better. The heavy Nightmare soon put all memories of this slight misstep out of site however, and showed that new drummer Brooks Wackerman is a real talent behind the kit. The second part of the set mainly featured heavier songs, including the anthemic Almost Easy and the diverse Sunny Disposition. It would be great to see this song with a live horn section, but the backing track will have to do for now! The song Planets saw a giant inflatable spaceman, which looked like a reject character from Pink Floyd's The Wall show, rise behind the band. The set ended with the emotional and powerful ballad Acid Rain, and the band left the stage to huge cheers. Of course there was time for more, and three classics followed which saw the excitement in the crowd build even more. Bat Country and the strange nightmare ride of A Little Piece of Heaven saw everyone singing along, before Unholy Confessions from the band's past was wheeled out to huge cheers and this ensured that everyone went home happy. The setlist was:
The Stage
Afterlife
Hail to the King
Paradigm
To End the Rapture
Chapter Four
Buried Alive
Angels
Nightmare
God Damn
Almost Easy
Sunny Disposition
Warmness on the Soul
Planets
Acid Rain
-
Bat Country
A Little Piece of Heaven
Unholy Confessions
Overall this was a great evening of live music from some of the biggest mainstream metal bands around at the moment. I had not seen either Avenged Sevenfold or Disturbed before, so I was glad to have the opportunity to finally do so.
In Flames were on first and I have to say I found them quite disappointing. In Flames are one of the bands who helped bring melodic death metal to the masses during the 1990s, but their sound over the past decade or so has evolved to take on more of a alternative metal vibe, losing much of their heaviness. While I have never been their biggest fan, I do own a few of their albums and was looking forward to seeing what they were like live. Unfortunately, the sound did little to help them and it was the only time during the evening where I felt the sound was less than acceptable. They sounded extremely muddy throughout, and did not seem to really perform with much energy at all which is a shame to see from a metal band. They were not on stage long, probably not much longer than half an hour, and I have to say I was glad when they walked off after their set.
Disturbed were another story however and really got the crowd excited during their hour long set that contained material from all of their albums and a fantastic stage show that matched the intensity of their songs. Dan Donegan (guitar/keyboards/vocals) appeared on stage alone to play the short instrumental The Eye of the Storm before the band joined him and crashed in Immortalized from their most recent album. Frontman David Draiman prowled the stage all night, making good use of the catwalk, and interacted well with the crowd. It is fair to say that the whole front portion of the crowd, as well as many others, were well and truly enchanted by him, and he led the band through a triumphant set that contained all of their best-known songs. Old classics like The Game sat perfectly alongside newer numbers like The Vengeful One, and the set flowed well. The Animal was included in the set at the request of an ill fan the band had met earlier in the day, before the old classic Stupify brought the first half of the set to a close. Their cover of Simon & Garfunkel's The Sound of Silence has brought the band a lot of attention recently, and as expected it was performed live with plenty of emotion as the band were joined by a string section and an additional guitarist. After this the set was basically just packed full of classics, including Inside the Fire, with accompanying pyro, and the ultra-melodic Stricken. Their set came to an end with arguably their best-known song Down with the Sickness which had the vast majority of people in the crowd singing along at the band's request. While I would only really classify myself as a casual fan of Disturbed, this was an extremely powerful performance from the band and they showed why they have the strong reputation that they do. The setlist was:
The Eye of the Storm
Immortalized
The Game
The Vengeful One
Prayer
Liberate
The Animal
Stupify
The Sound of Silence [Simon & Garfunkel cover]
Inside the Fire
The Light
Stricken
Indestructible
Ten Thousand Fists
Down with the Sickness
While I think Disturbed were probably the main event for more than a few people in the arena, Avenged Sevenfold were the headliners and received the biggest reception of the night. With a space-themed stage set to suit the themes explored in their new album, the band kicked off with The Stage and followed it up with a two hour set featuring songs from all seven of their albums. The lengthy opening number proved to be a strong set-opener, and the majority of the songs played from The Stage fit in well and came across well live. It was the older songs that received the biggest cheers however, with Afterlife and Hail to the King really getting the crowd going early on. While frontman M. Shadows is undeniably the band's focal point, and he turned in an excellent vocal display throughout, it is Synyster Gates (guitar/vocals) who stole the show with countless excellent guitar solos throughout the evening. He is one of the best mainstream metal guitarists these days, and this performance helped to cement that. Paradigm from the new album was also well-received, but it was the golden oldie Chapter Four that received one of the biggest cheers of the early set. Shadows sung the chorus with real venom as he was helped out by the large crowd. Of all of the new songs played, I felt that the ballad Angels was the only one that fell flat. It is just not one of the band's most memorable songs, and this showed when it was part of a set as strong as this one. The band have done better ballads in the past, and another one would have probably worked better. The heavy Nightmare soon put all memories of this slight misstep out of site however, and showed that new drummer Brooks Wackerman is a real talent behind the kit. The second part of the set mainly featured heavier songs, including the anthemic Almost Easy and the diverse Sunny Disposition. It would be great to see this song with a live horn section, but the backing track will have to do for now! The song Planets saw a giant inflatable spaceman, which looked like a reject character from Pink Floyd's The Wall show, rise behind the band. The set ended with the emotional and powerful ballad Acid Rain, and the band left the stage to huge cheers. Of course there was time for more, and three classics followed which saw the excitement in the crowd build even more. Bat Country and the strange nightmare ride of A Little Piece of Heaven saw everyone singing along, before Unholy Confessions from the band's past was wheeled out to huge cheers and this ensured that everyone went home happy. The setlist was:
The Stage
Afterlife
Hail to the King
Paradigm
To End the Rapture
Chapter Four
Buried Alive
Angels
Nightmare
God Damn
Almost Easy
Sunny Disposition
Warmness on the Soul
Planets
Acid Rain
-
Bat Country
A Little Piece of Heaven
Unholy Confessions
Overall this was a great evening of live music from some of the biggest mainstream metal bands around at the moment. I had not seen either Avenged Sevenfold or Disturbed before, so I was glad to have the opportunity to finally do so.
Sunday, 8 January 2017
Fragile Things - Plymouth Review
Back in 2008/2009, my favourite 'new' rock band were Heaven's Basement. I had their debut self-titled EP not long after it came out, and played it regularly. They were one of the first young bands I heard that were playing classic rock-style music with new and youthful energy and they opened my eyes to a whole pile of other new bands and helped to set me on the path I am still following when it comes to new music. One of the things I regret was that I never got to see this influential original line-up of Heaven's Basement live. Their concerts eluded me for a whole host of reasons, including a Plymouth show that was cancelled when original bassist Rob Randell left in 2009. Part of the band's early success was the voice and charisma of frontman Richie Hevanz who left the band in 2010. Heaven's Basement continued on with vocalist Aaron Buchanan, and I finally saw the band live at his first ever show with the band in Leicester in 2011. They went off in a slightly more modern, alternative rock direction and made a sizeable fanbase with relentless touring and the excellent debut album Filthy Empire that was released in 2013. As seems to be the norm with Heaven's Basement now however, they are going through yet another frontman change and they are yet to reveal their plans going forward. Despite still being a big fan of Heaven's Basement through all their changes, I always wondered what Hevanz was up to. I knew he was in a band called Endless Mile for a while but this was a band I never really followed, and it was not until sometime last year when I came across his new band Fragile Things. I knew very little about their music, but saw they were playing a show at The Junction in Plymouth early on in 2017 so I put the date in the diary and decided to go and check them out. The Junction was to be the site of that ill-fated Heaven's Basement gig back in 2009, so it seems fitting that I would finally see Hevanz in that venue which is only a short walk from where I now live.
This show in Plymouth was part of a little run of two shows in the South West of England supported by South West-based rockers All Guilty Parties. They were on first and played for around half an hour to a small but appreciative crowd in The Junction. All Guilty Parties' sound was very riff-based and with a strong bass groove (apart from one song when technical difficulties meant there was no bass!). While I thought some of their music was quite strong, I felt that the vocals and vocal melodies were fairly weak and lacking in any really memorable tunes. In fairness, the lead vocals were quite buried in the mix, so this did not help, but there were not many songs that stuck out to me as being particularly memorable vocally. Being fairly local however they did have some fans in the crowd and they received a genuinely warm reception throughout their set.
Fragile Things were headlining the evening, but it felt like they had to work harder than All Guilty Parties to get the crowd going. The show in Ilfracombe the night before had seen them perform without a singer, as Hevanz' car had a puncture on the way down to the gig, so they seemed raring to go in Plymouth and had a bit of a point to prove. Again the set was fairly short, probably no more than 40 minutes long, but they packed a lot of great music into their show and made a strong impression on me from the off. For the most part, Fragile Things' music is fast and hard-rocking, with strong riffs from guitarist Mark Hanlon that really drive the songs. The opening number, Enemy is I epitomised this sound, with drummer Hugo Bowman really adding a whirlwind of fills throughout the song to really emphasise the band's classic rock influences. Hevanz' was a bit of a different frontman that what I expected him to be, and much more reserved than in those old Heaven's Basement videos. In fairness, that was 9 years ago now and he looks very different to the lion-maned rocker he was then! His voice is still the same however, and he really was the focal point throughout the set with his high-pitched strong vocal display. Some of the songs had shades of his old band, but mainly the set felt more modern with a strong alternative rock feel and plenty of grooves from bassist Steve Lathwell. Despite not knowing most of the songs played, the ones that stood out the most to me where Memories and Wine and Better Than This, both of which are unreleased as of yet. They both had big choruses and a great performance from Hevanz that showed he is still a force to be reckoned with in the rock world. Another song that stood out was Angry, a song that mixed heavy choruses with a slow, slightly grungy verses. It sounded different to everything else in the band's set but it worked well and showed some diversity in the songwriting. The set came to an end with the only song of theirs I knew, Broken Sun, which is a song that really could have been an old Heaven's Basement tune with an anthemic chorus and a great classic rock strut. By this time the crowd seemed to have warmed up to Fragile Things, and I am sure they made a few new fans in Plymouth with this performance.
After the set copies of the band's debut EP, also called Broken Sun, were for sale. It will see a general official release later in the year, but pre-released physical copies are currently available at their shows. Needless to say I bought one and I look forward to giving it a proper listen sometime soon. Fragile Things got 2017's gigging calendar off to a fine start, and I hope to catch them live again soon.
This show in Plymouth was part of a little run of two shows in the South West of England supported by South West-based rockers All Guilty Parties. They were on first and played for around half an hour to a small but appreciative crowd in The Junction. All Guilty Parties' sound was very riff-based and with a strong bass groove (apart from one song when technical difficulties meant there was no bass!). While I thought some of their music was quite strong, I felt that the vocals and vocal melodies were fairly weak and lacking in any really memorable tunes. In fairness, the lead vocals were quite buried in the mix, so this did not help, but there were not many songs that stuck out to me as being particularly memorable vocally. Being fairly local however they did have some fans in the crowd and they received a genuinely warm reception throughout their set.
Fragile Things were headlining the evening, but it felt like they had to work harder than All Guilty Parties to get the crowd going. The show in Ilfracombe the night before had seen them perform without a singer, as Hevanz' car had a puncture on the way down to the gig, so they seemed raring to go in Plymouth and had a bit of a point to prove. Again the set was fairly short, probably no more than 40 minutes long, but they packed a lot of great music into their show and made a strong impression on me from the off. For the most part, Fragile Things' music is fast and hard-rocking, with strong riffs from guitarist Mark Hanlon that really drive the songs. The opening number, Enemy is I epitomised this sound, with drummer Hugo Bowman really adding a whirlwind of fills throughout the song to really emphasise the band's classic rock influences. Hevanz' was a bit of a different frontman that what I expected him to be, and much more reserved than in those old Heaven's Basement videos. In fairness, that was 9 years ago now and he looks very different to the lion-maned rocker he was then! His voice is still the same however, and he really was the focal point throughout the set with his high-pitched strong vocal display. Some of the songs had shades of his old band, but mainly the set felt more modern with a strong alternative rock feel and plenty of grooves from bassist Steve Lathwell. Despite not knowing most of the songs played, the ones that stood out the most to me where Memories and Wine and Better Than This, both of which are unreleased as of yet. They both had big choruses and a great performance from Hevanz that showed he is still a force to be reckoned with in the rock world. Another song that stood out was Angry, a song that mixed heavy choruses with a slow, slightly grungy verses. It sounded different to everything else in the band's set but it worked well and showed some diversity in the songwriting. The set came to an end with the only song of theirs I knew, Broken Sun, which is a song that really could have been an old Heaven's Basement tune with an anthemic chorus and a great classic rock strut. By this time the crowd seemed to have warmed up to Fragile Things, and I am sure they made a few new fans in Plymouth with this performance.
After the set copies of the band's debut EP, also called Broken Sun, were for sale. It will see a general official release later in the year, but pre-released physical copies are currently available at their shows. Needless to say I bought one and I look forward to giving it a proper listen sometime soon. Fragile Things got 2017's gigging calendar off to a fine start, and I hope to catch them live again soon.
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