Alter Bridge's 'Walk the Sky' - Album Review

Florida's Alter Bridge clearly never got the memo that rock is dead. That is, of course, a nonsense statement - usually uttered by those who have no interest in the genre - but if there is a band that is truly defying that notion then Alter Bridge are it. Especially here in Europe, Alter Bridge are a big deal - with the band regularly selling out arenas across the continent. They are one of the most popular modern hard rock acts here in the UK with Alter Bridge's tours, and new albums, always a cause for excitement in the rock world. It amazes me that the band are not as popular in their home country, but I suppose the band have always been a bit too diverse for the American radio rock market. The band are still successful in the USA, but not on the level that they are over here. American radio rock is a strange beast, as a look at any of their festival line-ups will tell you - and while Alter Bridge may have flirted with that sound on both 2004's One Day Remains and 2007's Blackbird, it is fair to say that since those early days in their history the band have massively expanded their sound. One Day Remains and Blackbird are almost extremely refined and top-drawer examples of American radio rock, but since 2010's monstrous AB III (which is still my favourite Alter Bridge album) the band have really upped the heaviness and technicality. The band have always included metal and progressive influences in their sound, but it was AB III that showcased this in a big way - before they truly ran away with those ideas on 2013's Fortress (which I reviewed here), a progressive beast of an album that continues to grow on me. Fortress is easily the band's most diverse album - with delicate ballads sitting side-by-side with Tool-esque grooves. The diversity means it is one of those albums you really need to be in the mood for, but when the moment is right it really hits the spot! It is also probably the band's creative peak to date. 2016's The Last Hero (which I reviewed here) saw the band attempt to streamline all of these influences into a more melodic and accessible package - but I am not sure they quite pulled it off. The Last Hero is not an album I have returned to very often since the months surrounding its release, with a ear-tiring production quality and a bloated run-time making it probably my least-favourite Alter Bridge effort. I had high hopes therefore for Walk the Sky - the band's sixth album that was released last month. I hoped that the band would right the wrongs (such as they are) of The Last Hero and, for the most part, Alter Bridge has succeeded. Walk the Sky is the album that The Last Hero should have been, with the heavy and progressive influences meshing perfectly with arena rock grandeur to make an album that is both memorable and technically impressive. The production is better this time around too, although it does still feel a tad 'loud' which is frustrating. My stereo system has a volume control, so there is no need to produce albums in this manner! Others are far more sensitive to these kinds of issues than I am, but it is something that deserves to be called out when it is present. Luckily however, Walk the Sky does not suffer too greatly from the 'loudness war' and does not spoil my enjoyment of the songs contained within.

The fourteen-track album kicks off in a murky, low-key fashion with the short One Life - a tone-setting piece with dense synths, discordant guitar melodies, and frontman Myles Kennedy's haunting, distant vocals. Alter Bridge albums usually start with a bang, but Walk the Sky opens with a whisper and for me it is an extremely effective choice. It also acts as a great contrast against lead single Wouldn't You Rather, which soon comes crashing in with a meaty Mark Tremonti guitar riff and a juddering Scott Phillips drum pattern that recalls some of the heaviest moments of Fortress. There are quite a few heavy moments to be found throughout this album, but Wouldn't You Rather is a perfect mix of heaviness and melody - which makes it a perfect lead-off track. Alter Bridge have always been a band to mix stadium-worthy rock elements into their plethora of other sounds - and this track is no different. Kennedy's voice soars throughout the track, and explodes into a anthemic chorus part way through after a somewhat proggy pre-chorus that sees orchestrations and a brash guitar tone dominate. It is a song that contains a bit of everything, with many of the ideas here being expanded on elsewhere in the album. In the Deep opens in a similar fashion to the previous song's pre-chorus; showing that the band seem to continually want to build on sounds previously established and create a cohesive, flowing album; but soon launches into a fast-paced riff that ups the pace and whips up a strong energy. In many ways this song feels like a bit of throwback to the band's early days. The verses are quite stripped back, with Phillips keeping time with a simple beat and Tremonti laying down a simple arpeggiated guitar pattern before everything ramps up towards a radio-friendly chorus. Alter Bridge are generally heavier than this these days, so the look back to their past is a welcome one. It is a relatively simple song in the context of the rest of the album - and allows Kennedy a chance to really shine vocally as the song is really built around his melodies. Godspeed is different again, and opens with some strange keyboards that help to create a strong atmosphere before the weighty guitars join the fray. Keyboards have always been used by the band, but their presence seems to be much greater throughout this album - which helps it to stand out in their discography. Tracks like this really benefit from the synth backing, and it is great to see the band are continuously willing to try new sounds. The song is a bit of a murky half-ballad, building on the album's short opening track, but packs another soaring chorus that really showcases Kennedy at his best, with Tremonti adding his distinct backing vocals for a rich, deep sound. A short guitar solo adds itself to the fray, but in truth this a song more about atmosphere than showboating. Native Son really ups the heaviness again, with both Kennedy and Tremonti laying into their guitars for some groove-based riffing and Phillips' drums crashing in with a satisfying punch. Alter Bridge do heavy well, and their riffing throughout this track put some metal bands to shame. Despite the more overtly-metal focus, they have not neglected to include strong melodies throughout, with the occasional burst of soaring lead guitar and another excellent chorus that sees Kennedy pushing his voice to new heights and a wordless vocal section that is sure to go down well live. An extra grandeur is given to the piece by some prominent string arrangements - which builds on the work the band did with an orchestra at the Royal Albert Hall in 2017.

Take the Crown is another single, so unsurprisingly is centred around big melodies - but that does not stop the heaviness from also appearing with a massive, juddering riff kicking everything off. This track actually reminds me a lot of the sound the band forged on AB III, which is the album that really started their flirtation with full-on metal arrangements. It is known that Kennedy is a big fan of the French metal band Gojira, and some of the riffing here certainly echoes that band's distinct sound, while Tremonti adds plenty of his trademark melodies and style throughout. As great as the band are however, this is a song that belongs to Kennedy. It is his voice that drives everything, with melodies that instantly stick with the listener and never let go. The song contains easily the album's most anthemic chorus, with catchy vocal lines that showcase why Kennedy is held in such high regard as a modern rock vocalist. It is one of the album's highlights for me, and a single to rival some of the band's previous best. Indoctrination is more of a groove-orientated piece with a slow-paced, walking guitar pattern opening things up while Kennedy gently croons atop it. It is a very different sounding song for the band, with a creepy, almost doomy, vibe throughout that is enhanced by the deliberate riffing and Brian Marshall's booming bass. The verses are packed with this attitude, with occasional bursts of cold synths to add to the strange feeling, before the song explodes into a chorus more typical of the band's usual style with Kennedy reaching for the stars vocally despite the still-lumbering pace. It is a bit of an odd song overall, but it really comes together well and the band have managed to nail the vibe perfectly. The Bitter End, after a couple of heavier songs, does pair things back slightly and is another bit of a throwback to the band's early sound. It opens up with some lovely clean guitar melodies, but does soon ramp up into more of a riff-based piece with some more tasty Tremonti guitar playing. Despite these riffs, the piece still feels more laid back in comparison to the previous few songs which put metal ahead of anything else. The metal vibes are largely absent here, with more of an epic rock sound in place instead, with a powerful, slower chorus with more excellent Kennedy vocals and prominent orchestrations throughout. The heaviness returns for Pay No Mind however, as do the prominent keyboards. It is a track built around a chunky guitar riff, but the keyboard melody that accompanies it really helps the song sound different from the norm. It is still clearly an Alter Bridge song, but the use of keyboards here shows the band's continual musical evolution. It was another track released online prior to the album's release, so unsurprisingly it is built around another strong chorus - with a catchy, pacy effort here that is sure to go down well live. Forever Falling features a rare lead vocal from Tremonti, only his third on an Alter Bridge album - but fans of his solo work will by now be more than familiar with his voice. It is another very diverse piece, that opens slowly before exploding into one of the album's most abrasive riffs. It is a track that jumps between heavy and soft with ease, with dancing synths utilised throughout to create a dense but uplifting mood - while Tremonti's deep, rich voice creates a vibe that Kennedy could not. The band's main singer joins in for the upbeat choruses however - with the two vocalists harmonising together well. It is another different-sounding piece, and as a result is another highlight.

Clear Horizon opens up as a relatively laid back piece, with a low-key guitar and vocal intro that recalls Kennedy's Year of the Tiger solo album from last year - but this mood is short lived as another big riff soon kicks in to shake up the relative calm. On The Last Hero there were a few songs that played a lot with discordant riffing and guitar patters, and that sound is experimented with again here. It works much better here than on the last album however, with the better overall production helping the strangeness to come through and the songwriting of the track on the whole being stronger. There are also moments that recall the band's early days, with a chorus that could have sat nicely on AB III and a few moments that even give a nod to the band's debut. It is a great mix of Alter Bridge new and old, and another strong track on an album filled with strong moments. Walking on the Sky is a bit of lumbering song, but that is not meant as a criticism as the slowness actually works in its favour. Marshall, who is often buried in the mix throughout the album, gets some time to shine were some prominent bass playing during the verses; and the overall fatness of the production helps the song to sound massive. With no real ballads to be found on the album, the album relies on other changes in pace to stop it becoming stale. The relative slowness of this song helps that variation, and the grooves created throughout are different from many of the fast-paced riffs found on the album. A shredded guitar solo closes the piece out, and with relatively few solos found throughout the album it is a welcome flurry of notes. Tear Us Apart is another somewhat slower piece, and probably the closest the album comes to having a ballad. Alter Bridge usually include a couple of ballads per album, but on Walk the Sky they have focused on their heavier side - which is great to see. Tear Us Apart helps to provide a change of pace however, and is different from the previous slower number by having more of an organic sound throughout that sounds something like the band's first two albums. The sound of the song allows Kennedy to sing a more emotional way, which fits in with the overall warmth created throughout. The chorus is very old-school Alter Bridge, with a bit of an earnest message and a dancing guitar lead that sits just beneath the vocals for added effect. The album comes to a close with the epic Dying Light, a song that seems to bring all of the album's ideas together into a cohesive whole - with prominent synths throughout and a dynamic sound that mixes soft and heavy together nicely. The verses are quite laid back, with Kennedy's vocals really dominating as dancing guitar patterns and subtle basslines create a floating backing, before the song ramps up towards a powerful chorus with heavy riffing. It showcases the band's more progressive side nicely, while still retaining the more concise nature of the album. The band have done more progressive pieces in the past, but this one mixes that vibe with stadium-friendly aesthetics and proves to be a strong closing number. I imagine the song will be a live favourite for a long time, and with a couple of shredded guitar solos included too it will be an impressive piece to witness the band perform on stage. Overall, Walk the Sky is a strong album from Alter Bridge that certainly sees the band firing on all cylinders again after the somewhat weak The Last Hero. The band seemed to finally manage to lock all of their influences together into a cohesive whole this time around, and it is telling that there are no true weak songs here. A few experimental moments help to keep things fresh too, and it is an album that I will be listening to a fair bit going forward.

The album was released on 18th October 2019 via Napalm Records. Below is the band's promotional video for Wouldn't You Rather.

Michael Monroe's 'One Man Gang' - Album Review

As one of the 'Godfathers of Glam', Finnish singer Michael Monroe is held in high regard by those of us who love anything glittery and sparkly. As one of the two consistent members of the punk/glam act Hanoi Rocks, a band that never really received the attention that they deserved but still managed to influence literally hundreds of bands that followed in their footsteps, Monroe brought hairspray and sugary melodies to punk - helping to forge what would become hair metal in the process. Hanoi Rocks were something of a proto-hair metal outfit, with everyone from Mötley Crüe to Guns N' Roses later citing them as influences. Some bands are destined to live on through their influence rather than their hit records, and Hanoi Rocks are one of those acts - rather like Diamond Head to give another example. Outside of Hanoi Rocks, Monroe was a member of the short-lived bands Jerusalem Slim and Demolition 23. during the early 1990s - and has been pursuing a solo career since his debut solo release Nights Are So Long in 1987. For much of the 1980s, 1990s, and 2000s Monroe's solo career often took a backseat to whatever band he was fronting at the time - but since Hanoi Rocks called it a day for a second time in 2009 Monroe has put all of his energy into his solo career. It would seem however that the singer is much more comfortable in a 'band' situation, as since re-launching his solo career in 2010 he has been backed largely by the same four guys. Guitarist Steve Conte, bassist Sami Yaffa, and drummer Karl Rockfist have been with the Finn since 2010 - with only the second guitarist position changing hands a couple of times. Since 2014, that slot has been held down by English guitarist Rich Jones - meaning that this current iteration of the Michael Monroe band celebrates its fifth birthday this year. It is fitting then that this milestone is celebrated with the release of Monroe's ninth solo album, and fourth since re-launching his solo career, One Man Gang. It is the first since 2015's Blackout States, but it certainly picks up where that album left off. Monroe's music has been of a certain type throughout his career, but his recent albums have certainly seen him plough the punk furrow a little harder. There are still plenty of big, anthemic choruses here for all the glam fans - but there is a certain raw power and aggression in Monroe's current work. One Man Gang is no different, and contains twelve songs that breeze by - with only two songs clocking in at longer than four minutes long! This is good-time rock and roll music, with the band of five years sounding extremely tight after many round-the-world treks. The only thing somewhat strange about the album is the lack of writing from Monroe himself. He is only credited with writing one song here, with Jones and/or Conte writing the rest. This shows that One Man Gang is certainly more of a band effort rather than a true solo album, with the legendary singer leading his cohorts rather than dragging them along behind him.

Many of the songs on the album are short bursts of ferocious punk energy, with the blink-and-you-will-miss-it title track a perfect example - and therefore the perfect opening song here. The song opens with Monroe's voice briefly alone, before the band crash in with a fast-paced barrel of energy that barely lets up throughout the piece. Captain Sensible (The Damned) is featured on guitar throughout the song - which goes someway to explain the song's particular fury! Despite this essentially being a punk album, Monroe's status as a glam icon is also represented throughout with more sugary harmonies than on your average punk album and some stadium-sized choruses. The title track has a really anthemic chorus, which is sure to get everyone involved when played live, which gives way to a short but explosive burst of bluesy soloing. It is a song that perfectly encapsulates what Monroe is about, and sets the tone for what is to come. Last Train to Tokyo is more hard rock than punk, and acts as one of the album's main singles. The pace is not as furious here, recalling mid-period Hanoi Rocks somewhat with strident guitar chords driving the verses - before a gang vocal-led chorus bursts out of the speakers and into memories. The song recalls Monroe's singles of the past, and is sure to become another crowd favourite. The chorus is as anthemic as it gets for this kind of music, with Monroe's still-powerful voice perfectly carrying the melodies while both guitarists uses the piece to occasionally break into a burst of soaring lead playing. Junk Planet is somewhat more raw and abrasive, with a pounding bass intro from Yaffa that is soon built up up with some gnarly guitar leads and Monroe's bluesy harmonica. The bluesy elements are strong throughout, but they are mixed perfectly with Monroe's punk aesthetic with guitar riffs that recall the Sex Pistols at their best. The song is not as anthemic as the opening two, instead relying on the groove and dirty overall sound to drive everything forward. The barked chorus is still fun, but it is certainly more utilitarian - although this fits in nicely with the song's overall bass-heavy vibe. Harmonica and lead guitar cross swords often throughout the piece too, creating musical hooks in amongst all the attitude. Midsummer Nights certainly pairs everything back somewhat, and opens with some chiming clean guitar melodies which Monroe proceeds to croon atop. Monroe is not the most diverse of singers, and in my opinion is best when operating at full-tilt, but he can still pull the occasional slower number off. The verses here actually something of a modern indie vibe, which is a bit different than the norm, but the raw production make them feel at home on the album. The chorus is a bit more up Monroe's usual street however, with a more expansive sound and strong melodies. It might not be a classic, but it is a welcome change of pace on an album that usually has everything turned up to eleven.

The Pitfalls of Being an Outsider ups the pace again however, and operates at a strong mid-pace crunch with Yaffa's bass nice and prominent in the mix while somewhat discordant guitar leads create an atmosphere. It might not be the fastest song here, but there are still strong punk vibes throughout. The way the bass drives everything is indicative of the genre, and the chorus is a feast of gang vocals, somewhat-chanted vocal melodies, and brooding attitude. It is songs like this that see Monroe and his band really shine in my opinion, with all five guys really firing on all cylinders. I am not sure that Yaffa has ever really gotten the credit he deserves as part of this collective, as it is always his simple but punchy playing that holds everything together. That fact is evident here, and it shows why Monroe has worked with him a lot over the years. Wasted Years is a bit like a more laid back version of Junk Planet, with strong bluesy vibes throughout and more of that excellent bass playing from Yaffa. While Monroe is known primarily as a singer, he is also a strong musician and is known for being able to play a number of different instruments. This song features a lot of his harmonica playing, which helps to reinforce that bluesy vibe is often preferred here to lead guitar when it comes to creating mid-song melodies. That being said, there is still a short, expressive guitar solo present that showcases some tasteful phrasing - presumably from Monroe's old bandmate Nasty Suicide (Hanoi Rocks; The Cherry Bombz; Demolition 23.) who is featured on the song. In the Tall Grass opens slowly, with a distant drum beat from Rockfist - before the piece quickly opens up into a slower, yet full-sounding, song with a big guitar presence early on. The song seems to move constantly between quieter and louder sections - packing an awful lot into the relatively short space of time. The verses are sung by Monroe in almost a whisper, which is a bit of a different style for him, while Yaffa once again keeps a groove going. The rest of the song is much 'bigger' however, returning to the big guitar presence of the intro with chiming arpeggios over strident power chords. By Monroe's usual standards this is a dynamic piece, and a great mid-album way of mixing things up a little. Black Ties and Red Tape returns to the pure fury of the album's opening number, with Rockfist running a marathon behind his drum kit and choppy guitar riffing from everyone else. After a couple of more laid back and different pieces, the song is a not-so-gentle reminder of Monroe's usual sound - and the sound that has helped to make him a big deal over the years. He has lost none of his attitude and energy over the years, but everything is always delivered with a strong sense of fun. This is a song that is sure to see some movement if it is ever played live, and like the title track it is over in the blink of an eye.

Hollywood Paranoia is more of a mid-paced piece, but opens with a relatively heavy riff that ensures the song catches hold. The heavy feeling does not really last throughout the song, with the track instead settling into another solid punky groove with Yaffa's bass again present. It is these sort of songs that Monroe is best at in my opinion, so it is unsurprising that the album has a good number of them. The chorus here is extremely catchy, with some really great melodies that just instantly stick. Good punk always treads a fine line between being catchy and venomous and, while Monroe usually leans somewhat more towards the former, it is clear that he is the master of whipping up energy with his words and vocals. Heaven is a Free State is the only song here that Monroe actually wrote, but it does not sound a whole lot different to the rest of the album. It does open with a few bursts of saxophone and trumpet however, courtesy of the man himself and session player Tero Saarti, but on the whole the song is another strong mid-paced number. The horns surface occasionally throughout to mix things up somewhat, but the song's best moment is a strong chorus with some excellent punk/glam vocal melodies that are made to be sung by a loud crowd. It is a bit of a shame that Monroe did not write more of the material here, especially as this is a 'solo' album, but maybe in his older age he his happy to sit back somewhat and let his clearly prolific band members take the reigns before putting his own stamp on their compositions. Helsinki Shakedown continues on somewhat from the previous number, with a similar tempo and overall vibe. The slightly jazzy horn bursts are absent however, leaving the more traditional guitar riffing to fill any little holes. I like Monroe's use of harmonica and saxophone throughout his work, but I think it is wise that he never really overuses the instruments. It could start to sound a bit gimmicky if they were used too often, but used as they are they really make an impact - especially the harmonica on the earlier songs. Low Life in High Places is the album's closing number and surprisingly does not go for the throat - with the focus instead being on more controlled melodies and a slightly laid back feel. The song still moves along at a decent pace, and is not a ballad by any means, but still feels a bit different from Monroe's normal style. His voice is really placed at the front and centre of the song, with the bass yet again creating a groove while the guitars add colour. That being said, it is a song that somewhat grows up around the initial groove - getting more chaotic as the piece moves forward. It is not the best track here, but it is a song that ends the album on a different vibe than you might expect - showcasing Monroe's willingness to occasionally play with structure. Overall, One Man Gang is another strong album from Monroe and another in a long line of good releases since his 2010 solo 'rebirth'. There is nothing particularly new here, but anyone wanting more of Monroe's distinct style will certainly find plenty to enjoy.

The album was released on 18th October 2019 via Silver Lining Music. Below is Monroe's promotional video for Last Train to Tokyo.

Last in Line - Nottingham Review

Sadly, I never got to see the band Dio live. I saw Ronnie James Dio live once, as part of Heaven & Hell when the band came to Plymouth in 2007 - which was excellent - but I always wanted to see the great man live playing songs from throughout his solo career. I had a ticket to see Dio live in Bristol in 2010 - but the tour was cancelled when he was diagnosed with cancer, from which he never recovered. I am very happy that I got to see him live in some capacity, but I will always be a little sad that I never saw his solo band. These things cannot be helped however, and Dio join the, admittedly small, list of acts I will now never have the chance to see. The band Last in Line are, therefore, something of a godsend. While neither Vivian Campbell (guitar) or Vinny Appice (drums) had been a part of Dio for a good number of years - both were key members of the band's most successful years. Appice was a member of Dio for longer than Campbell ever was, but the pair of them ensured their place in metal history by appearing on 1983's Holy Diver, 1984's The Last in Line, and 1985's Sacred Heart - arguably Dio's most-defining albums. Unfortunately, Dio and Campbell fell out during the Sacred Heart tour resulting in the latter leaving the band. The two never made up, and occasionally traded insults via the media - which was always a bit sad to see. Campbell of course went on to join Def Leppard, and has been an integral member of that band since the early 1990s, and largely ignored his time with Dio for a good number of years. I am not really sure what the catalyst for Last in Line was after all those years, but I think Campbell and Appice might have been brought back together by the late Jimmy Bain - bassist in those early Dio line-ups. I think there was a mutual wish to revisit some of those tracks that the three wrote together as part of Dio, and started playing a few low-key shows with frontman Andrew Freeman - a relative unknown. The shows were a success, and one thing led to another and soon the band were ready to write together again and released Heavy Crown in 2016. Sadly Bain died just before the album's release, with journeyman bassist Phil Soussan taking his place - a position the English musician still holds. Last in Line have become a semi-regular touring act over the past few years, fitting shows in around the members' other commitments, and released their second album earlier this year. A short UK tour was announced a few months ago, and since the Nottingham show fitted in nicely around some other plans that I already had (it ended up being the fourth gig of a four-gig weekend!) it seemed rude not to get a ticket. It would be the closest thing I could ever see to those early Dio shows - and seeing big names like Campbell and Appice in the relatively intimate confines of the Rescue Rooms would certainly be a novelty!

There were a couple of support acts to warm the crowd up before Last in Line's set however, with the first being a rather limp showing from the Midlands' Gin Annie. I was familiar with the band's name, but had never heard any of their songs prior to the show. It was my understanding that the band are gaining some traction in the rock world, so I was interested to check them out. If they are indeed gaining traction then I am really not sure why, as I thought their set was one of the blandest displays of old-school hard rock I had seen for a while. I have been fairly blessed by strong support acts of late, but Gin Annie just did nothing for me to stand out from the crowd. They had a few decent riffs and the odd memorable chorus, but on the whole they were just boring and extremely generic. Unfortunately I often find that the new rock bands that people start to hype up a little are the blandest of the bunch, while the great ones struggle to get a look in. Obviously this is all my opinion, and if people genuinely enjoy Gin Annie then that is great, but there are so many better new rock acts out there. To me, the band can best be summed up by their closing number Born to Rock and Roll, with lyrics like 'I was born to rock and roll; its in my heart and in my soul'. This is the level of rote that we are talking about here, and I think it is safe to say that they are not a band for me.

Luckily the second support act was much better, with the modern AOR act Vega owning the stage throughout their seven-song set. This was my third time seeing the band as a support act this year and, while the setlist was basically identical to those other shows, it was great to see them again. The band were brimming with confidence as soon as they hit the stage with the rocking Let's Have Fun Tonight from their latest album; and six more great tracks followed. Vega are one of those bands that pretty much always manage to craft a strong chorus. I am not saying that every one of their songs is a hit, because that is not the case, but the chorus is usually always strong. Frontman Nick Workman clearly has a knack for crafting strong vocal melodies, and the Martin brothers have really established themselves as a strong songwriting duo by this point. Whether the band is rocking hard such as during Explode or showcasing more of a 1980s AOR vibe such as during Kiss of Life - Vega really shine. They have a bit of everything, with Marcus Thurston (guitar/vocals) able to whip up a shredding solo at the drop of a hat and James Martin (keyboards) always being on hand to lay down a sparkly synth riff. Vega are not a band that I listen to at home too often, but I always enjoy seeing them live. They always manage to create a strong atmosphere during their shows, and I imagine that each show that they do creates new fans for them. That being said, I think that they had quite a few fans already in attendance - as Workman did not need to break too much of a sweat when getting people to sing along. This was great to see, and helped to elevate the evening. By the time set-closer Savin' Grace rolled around, everyone was into what Vega were doing - and helped Workman to sing many of the song's wordless vocal sections. It was a powerful few songs from a band that ought to be bigger than they are, and I am looking forward to hearing their sixth album that is due out next year. The setlist was:

Let's Have Fun Tonight
Explode
Every Little Monster
Kiss of Life
White Flag
Worth Dying For
Savin' Grace

Despite Vega's efforts, it was of course Last in Line that people were here to see. At around 9:30pm the lights went down and a subtle keyboard-heavy intro played as the band took to the stage - before they crashed into a mid-paced grind of Landslide from their new album. While it was the old Dio material that dominated the set, and unsurprisingly received the best reactions from the crowd, the band's original songs just about managed to hold their own. I was quite rude about their second album II earlier in the year, but live the songs sounded much better - which confirms my view that Jeff Pilson's production is holding the band back - with Landslide kicking things off nicely. However, when Campbell moved into the riff from Stand Up and Shout the place went wild and the atmosphere from then on was electric. Freeman might not be Dio, but then again few are and he made the songs his own while still staying faithful to the original melodies. He was great throughout, but particularly shone on the set's heavier numbers in my opinion. Straight Through the Heart really showcased his power, with Appice's very distinctive drumming keeping everything moving. As the band do not have a keyboard player, and did not appear to have any prominent keyboards on a backing track apart from during the intros to a couple of songs, the songs sounded much weightier than on those old Dio albums. This was no bad thing however, and helped the overall energy of the night. Holy Diver sounded heavier than ever, and while The Last in Line sounded less grandiose it still had a certain primal power. Elsewhere, the riffy original Blackout the Sun was an unexpected highlight, with Freeman clearly relishing the chance to sing one of his contributions to the setlist - and the fact that there was not a mass exodus to the bar showcased that the new songs fitted in nicely alongside the classics. It was another original in Starmaker, which Soussan dedicated to Bain, that kicked off the final portion of the main set. The song has a great smouldering power to it, and it one of the band's best creations yet in my opinion. Freeman again shone, while Appice's lumbering beat only contributed to the power. The epic feel was retained in Egypt (The Chains are On), which is one of my favourite Dio songs. Without the keyboards, with the exception of the taped intro, the song sounded a bit different - but still great. It was nice and heavy, with Freeman showcasing some vocal diversity throughout, and Campbell took over at the end for a lengthy closing guitar solo. His role in Def Leppard is quite regimented, as the band are not ones to often cut loose, so it was great seeing him let off the leash here. This led in the main set closer Rainbow in the Dark, which again sounded different without the keyboards but erupted into a bit of a sing along which the band clearly enjoyed. That was it for the main set, but a three-song encore followed. Two Dio classics and one last original were included, with the slow-burning Don't Talk to Strangers and the riffy Devil in Me impressing, before We Rock whipped up one last burst of energy - and made sure everyone went home happy and singing the song in their head! The setlist was:

Landslide
Stand Up and Shout [Dio cover]
Straight Through the Heart [Dio cover]
Year of the Gun
Holy Diver [Dio cover]
Blackout the Sun
The Last in Line [Dio cover]
Starmaker
Electrified
Egypt (The Chains are On) [Dio cover]
Rainbow in the Dark [Dio cover]
-
Don't Talk to Strangers [Dio cover]
Devil in Me
We Rock [Dio cover]

Sometimes long weekends of gigging can produce gig fatigue, and by the time you get to the last one you just want a quiet evening in. Luckily Last in Line's show did not suffer from this at all, and the performance from the band was top notch. It was great hearing so many of those old classic Dio tunes live, and the band's original material hit surprisingly hard too. Throw in an excellent support slot from Vega, and a great evening was had by all.

Skid Row - Nottingham Review

When it comes to venues of all sizes throughout the UK, a quick glance at any gig listing will show that one of the touring trends at the moment seems to be larger bills that give value for money for the punters. With bands needing to make more money from touring, as album sales in general decline compared to what they were in the 1970s and 1980s, it is important to ensure that tours attract as many fans as possible. Tours based around gimmicks are a big thing at the moment too, such as bands basing tours around anniversaries of specific albums or promising special setlists, but it is the 'packed bill' phenomena that I will be discussing today. Bands usually have support acts of course, but it seems that recently bands are taking more care over assembling a really strong bill that is going to help shift tickets - rather than just picking a couple of support acts to fill some time. All too often it is clear that not much thought has gone into a gig's support acts, which is a shame to see, but bigger bands and promoters seem to have cottoned on to the fact that great bills shift tickets. A band that really seems to have tapped into this logic is the American rock/metal act Skid Row who have always been popular in the UK. The last couple of years though has seen the band play much larger venues again - largely down to their rising popularity once again with new singer ZP Theart, but also their strong touring packages. I saw the band with Night Ranger in London last year, and back in January this year with a mega bill that featured the Backyard Babies and H.E.A.T. Clearly buoyed by these successful UK treks, another run of UK shows was announced with a few different combinations of bands making up the bill throughout the run. The tour took in places that were not covered by the January shows, so I opted for the Nottingham stop at the legendary Rock City. Partly I chose Nottingham because the show fit in to some existing plans that I had arranged, but also it was because of the show's bill. Both The Quireboys, a real favourite band of mine, and the Swedish hair metal revivalists Crashdïet were on a four-band bill, with the British up-and-coming rockers Hollowstar rounding out the evening. The only downside of these sort of shows are shorter set lengths for bands lower down the bill, but with sets coming thick and fast it meant that there was not a lot of standing around time between sets - which was great!

The venue opened at 7pm, and Crashdïet hit the stage only ten minutes later. Most of the crowd was still slowly filtering into the venue at this point, but this did not seem to deter the Swedes who stormed through a seven-song set with real venom - and they seemed to relish being back in Nottingham. I was surprised that Crashdïet were below Hollowstar on the bill, as the Swedes certainly have more of a history and pedigree - but both bands had 25 minutes to play with so it did not really make much of a difference. I had not seen Crashdïet since 2013, so I was really looking forward to seeing them again and they did not disappoint - with new frontman Gabriel Keyes really impressing throughout. The band are flying high off the back of recently releasing their new album Rust, and three songs from it featured in the setlist - including the fast-paced opener Reptile. With such a short amount of time on stage, the band did not mess around and just got down to playing as much music as possible. Old favourites such as Tikket and the glam/punk of Riot in Everyone sat nicely alongside new tracks like We Are the Legion and Rust - the latter of which really impressed with some excellent bass playing from Peter London and some big harmony vocals from the whole band. Brothers Martin (guitar/vocals) and Michael Sweet (drums) rounded out the band, with the latter filling in for the band's regular drummer Eric Young who is currently unable to tour - I hope everything is well with him. A couple of older singles were left to round out the set, with the anthemic Generation Wild really hitting the spot. There were clearly quite a few Crashdïet fans in attendance, as the song - and band - received a strong reaction. Crashdïet were actually the first ever band I saw at Rock City back in 2011, when they supported The 69 Eyes, so it was appropriate to see them in the venue again - and they got a great evening off to a fantastic start! The setlist was:

Reptile
Tikket
Riot in Everyone
We Are the Legion
Rust
Cocaine Cowboys
Generation Wild

Hollowstar were up next, and I have to say that I was not really looking forward to seeing them. I saw the band last year supporting the Dan Reed Network in Bristol and they did not really do anything for me - but this time Hollowstar made much more of an impression. The band are still quite new, and have clearly come a long way over the past year - as this time I really enjoyed them. The band have something of a weighty heavy rock sound, with two strong guitarists and a great presence in Joe Bonson (vocals/bass guitar) who fronts the band with his powerful voice. Nearly all of the band's songs are driven by big riffs, which help them to hit hard, with a few anthemic choruses also being peppered throughout the set. I am not sure if the band had written some new songs since the show last year, but this time nearly every song grabbed me and kept my interest. I do enjoy being wrong about a band, and I think that Hollowstar are a band that I will have to take more notice of going forward. I see that they have recently released their debut album so I will have to pick up a copy of that soon! It seemed that Hollowstar also had quite a few fans in attendance too, with the band receiving a strong reception throughout their set. A song that really grabbed me towards the end was Good Man Gone, about a friend of the band who sadly committed suicide, and the set closer All I Gotta Say managed to create some real energy and a big sing along with the crowd - which by this point filled the whole venue and the balcony. It was a powerful set from a young band on the up, and I will look forward to tracking their progress going forward.

The evening's special guests were afforded a whole five minutes longer on stage than the two openers, but The Quireboys never seem to let stage or time constraints deter them from putting on a great show. Unsurprisingly, due to the band's stature, they did not have to work hard to whip up the crowd and stormed through a fast-paced eight-song set with the ease and professionalism the band are known for. Much of the set was packed with crowd favourites, but a couple of new numbers kept things grounded in the modern day and introduced casual fans to where the band are now. Big singles Hey You and There She Goes Again kicked everything off, with frontman Spike encouraging the crowd to sing loudly and Guy Griffin (guitar/vocals) impressing with lots of bluesy slide playing. The crowd were then hit with the new track Original Black Eyed Son, but the unfamiliarity of the material for some did not seem to affect the energy. The new songs went down as well as the classics, as The Quireboys put on a masterclass of delivering a support-length slot and winning everyone over. The last time I saw the band they were headlining a sold out Kentish Town Forum in London back in September, but the energy created in Rock City was just as strong - with the strutting Man on the Loose kicking the set up into the next gear. Paul Guerin (guitar/vocals) peeled off the AC/DC-esque riff with ease while Keith Weir (keyboards/vocals) drove everything with his barroom piano melodies. One more new track, the brash Sinner Serenade which I had not seen the band perform live previously, kept the modern bluesy vibe going - with Spike encouraging the crowd to put their drinks in the air in his usual style, but the three songs that followed were all old classics that got everyone going. The band decided to drop all of their ballads, which was wise given the high-energy nature of the night, which meant that the intro to Sweet Mary Ann was the only pause for breath in the set. Weir's keyboards filled the venue while Spike crooned the intro - and the crowd soon joined in for the wordless vocals in the chorus. It was left to 7 O'Clock and a barnstorming rendition of Mayfair to bring the set to a close - both of which really upped the energy levels further. The band were on top of the world by this point, and I doubt there was anyone in attendance who wanted their set to end - I certainly did not! The setlist was:

Hey You
There She Goes Again
Original Black Eyed Son
Man on the Loose
Sinner Serenade
Sweet Mary Ann
7 O'Clock
Mayfair

Following three excellent support slots, the band topping the bill had a lot to prove and they knew it. Strong bills such as this one tend to bring out the best of everyone playing, and Skid Row fed off the energy already brimming from the crowd to deliver a 90 minute set that was possibly the best performance of theirs that I have seen yet. I have seen the band play longer shows, but the energy that they created throughout their fifteen-song set was something else, and the large, appreciative crowd never seemed to tire - even when the band pulled a couple of deeper cuts out of their catalogue. Skid Row have always had a punky element to their sound, and the opening few numbers certainly reflected that and really helped to build on the energy left over from the opening acts. Makin' a Mess kicked everything off, before the fists-in-the-air hard rock of Big Guns saw the first of many sing alongs of the night. Theart has really settled into his role of the band's frontman over the past couple of years, and was really out to impress in Nottingham. He hit a number of really high notes throughout the set, with the strutting Livin' on a Chain Gang showcasing some of them - while the rest of the band handled the spitting gang vocals. Another big sing along came in the midst of 18 and Life, with the crowd erupting into a huge cheer as Dave 'Snake' Sabo (guitar/vocals) started playing the chiming intro - before Scotti Hill (guitar/vocals) launched into an impressive bluesy and expressive solo part way through. The setlist largely stuck to crow favourites, but this year the band has been diversifying their shows a little and pulled out a couple of lesser-played numbers. The grinding Thick Is the Skin received a surprisingly strong reaction however, with the punky chorus being sung by many around me. I saw the band play the song back in 2013 - so it was fun to hear it live again after a break from the set. The punk vibe continues with bassist Rachel Bolan's customary cover of the Ramones' Psycho Therapy before the set moved into a bit more of a reflective period with the power ballad I Remember You and another deeper cut Ghost. The two somewhat stripped back songs allowed a chance for everyone to catch their breath, but there was still plenty of singing from everyone - especially during the former. By this point the main set was coming to an end, but there was still time for an extended version of Monkey Business and the closing romp of Riot Act. Monkey Business was stretched out with lengthy guitar solos from both Sabo and Hill - while Bolan and Rob Hammersmith (drums) kept a groove going. This section did go on for a little too long I think, but the skills on display were impressive with lots of shredding. After Riot Act the band left the stage briefly, but were drawn back by the cheers for a four-song encore. Quite a few favourites were included here, with the heavy Slave to the Grind kicking everything off, before the murky In a Darkened Room wowed the crowd. The song allowed Theart to show off a different side of his voice. He is a very diverse singer, and the pseudo-ballad allowed him to showcase his deeper, richer tones. The newer We Are the Damned and a powerful rendition of the band's signature Youth Gone Wild brought the evening to a close. By this point the 11pm curfew was looming, and the band had to finish up, but everyone in attendance had had a fantastic evening. The setlist was:

Makin' a Mess
Big Guns
Piece of Me
Livin' on a Chain Gang
18 and Life
Thick Is the Skin
Psycho Therapy [Ramones cover]
I Remember You
Ghost
Monkey Business
Riot Act
-
Slave to the Grind
In a Darkened Room
We Are the Damned
Youth Gone Wild

Gigs at Nottingham's Rock City are always special evenings out, but this one was a particularly great one. All four bands put on great sets, and a large crowd did their part to make sure the evening was a success. Bills like this are becoming more common, which is great, but I think that more bands could embrace the format. It allows bands like Skid Row to play in bigger venues again, and gives punters real value for money with lots of sets from great bands.

Battle Beast - London Review

Despite being a fan of Finland's Battle Beast for a few years now, I had not previously had the chance to see them live until yesterday. The UK has not always been a big part of the band's touring plans, but recent years has seen Battle Beast's profile rise over here. Until recently, Battle Beast's UK appearances were largely consigned to one-off appearances at the Camden Underworld - but a powerful set at 2017's Bloodstock Open Air seems to have really given them a boost. I did not go to Bloodstock in 2017, but I have heard a lot of good things about their Thursday night headline set. I am sure that the festival set turned a lot of heads - so much so that the band are now at the stage where they can schedule UK tours of their own. The band's last UK appearance was only back in April, which saw the band sell out The Dome in London's Tufnell Park. Due to the sell out, the band used that platform to announce a further string of UK dates - venturing further this time than the customary London appearance. Ironically however, the show that made the most sense for me was the London one - this time at ULU Live, which is a venue built into one of the London University's Student Unions. It was great to go to another Student Union venue so quickly after experiencing Manchester's Club Academy - but it really makes me realise how cities like Plymouth could benefit from their Universities hosting more live bands. I booked the Battle Beast ticket quite a few months ago, but when the weekend rolled around I found myself in the middle of a lengthy four-gig weekend! I enjoy these lengthy cross-country treks to take in live music, and everything this weekend was built around the Battle Beast show - as they were the first of the four tickets to be bought. I hot-footed it down from Manchester and got into London in the early afternoon. I was staying in Ealing, which was a fair way away from Central London where the gig was - but everything worked out nicely. After settling into my Travelodge, I headed into Central London to ULU Live - which was another new venue for me. The venue is slap-bang in the middle of the London shopping area, so the area was still pretty busy despite it being early evening by the time I got to Goodge Street tube station. Despite only being a few months since the band's last visit to the city, there was still a decent-sized crowd gathered in the ULU throughout the evening. I do not think that the show was sold out this time, but there was a great atmosphere throughout the evening as everyone in attendance was clearly up for a good time.

Before Battle Beast's set however the growing crowd was treated to an excellent set from the Swedish melodic metal act Cyhra - another band that is starting to make a name for themselves in the scene. The band have only been around since 2017, but with two albums now under their belts they are currently brimming with confidence. This tour with Battle Beast were the band's first UK appearances, so it provided their UK fans their first opportunities to see them live. As there was only one support act, Cyhra benefited from a lengthy slot, and managed to squeeze ten songs into their 45 minutes on stage. The early portion of the band's set was filled with songs from the newly released No Halos in Hell, but the show got underway with the title track from the band's 2017 debut release. With no live bassist or keyboard player, there was a heavy reliance on backing tracks, but the guitars took on more of a presence live which really helped to boost up the band's sound. Euge Valovirta (guitar/vocals) led the charge on the guitar front, while frontman Jake E proved why is held in such a high regard as a singer. He was always a bit overshadowed in Amaranthe, despite being one of the band's main songwriters, so it was great to see him take centre stage throughout Cyhra's whole set. There were clearly a few fans in attendance, but by the end of the show it seemed that nearly the whole crowd was on Cyhra's side. They are a hard band not to like, as each song contains a huge chorus which is extremely easy to latch onto. Despite being less familiar with them, it was actually the newer songs that stood out the most to me, with the epic Dreams Gone Wrong and the emotional Battle from Within particularly hitting the spot early on. No Halos in Hell is a much poppier album than Letters to Myself was, meaning that the melodies throughout the newer songs really came over well live. It also meant that the set really kicked up into a somewhat heavier gear as it moved on, with the meatier Heartrage and Karma showcasing a bit of a different side to the band. The latter in particular impressed greatly, with both Valovirta and touring guitarist Marcus Sunesson nailing the opening Gothenburg-esque guitar lead. A couple of newer tracks finished everything off, with the new single Out of My Life bringing everything to a close. E even managed to initiate something of a sing along during one of the album's choruses - which goes to show how much the crowd were into Cyhra by this point. It was a great set from an up-and-coming band that seems to continue to go from strength to strength - and I hope that next time the band return to the UK it is on their own terms. The setlist was:

Letter to Myself
Bye Bye Forever
Dreams Gone Wrong
I Am the One
Battle from Within
Heartrage
Here to Save You
Karma
Man of Eternal Rain
Out of My Life

About half an hour after Cyhra's set came to an end the house lights went down and Battle Beast took to the stage. The band are two albums into their 'new' era following the firing of former guitarist and lead songwriter Anton Kabanen, so it is unsurprising that the band chose to focus on the two albums that they have released since then. Songs from this year's No More Hollywood Endings made up the bulk of the set, with a healthy dose from 2017's Bringer of Pain also making the cut. A couple of old, fan-favourite Kabanen-era tracks were retained, but the focus was certainly on the modern Battle Beast. Unbroken got things underway, but it was perhaps Familiar Hell that really got the party going. Battle Beast are a band that manage to whip up a lot of energy throughout their shows, and this is largely down to the presence and efforts of frontwoman Noora Louhimo. She is such a force of nature up there on the stage, and her voice is out of this world. She sounds great on the band's albums, but live she is something else. She really carried the six-piece through their fifteen-song set with ease, with the band backing her up and occasionally stealing the spotlight when necessary. An early highlight for me was the melodic, fast-paced Straight to the Heart, which featured some excellent, but rare, soloing from Juuso Soinio (guitar) and a chorus that everyone got into. Despite Louhimo's voice and presence, it was Eero Sipilä (bass guitar/vocals) that did most of the between-song talking. He did a good job of compering the evening, introducing the songs well and joking with the audience. Another earlyish highlight was the AOR-esque Endless Summer, with plenty of keyboards from Janne Björkroth filling out the sound. He wielded his keytar throughout the evening, and really helped to big up the band's sound. His keyboards have become an even bigger part of the band's sound over the past couple of albums, and it seems to be his influence that is emphasising the AOR end of the band's sound. Those who prefer the heavier end of things however were kept happy with the rampaging The Golden Horde and the older classic Out of Control. The two songs followed each other and made for a really powerful few minutes of music - with Joona Björkroth (guitar/vocals) taking the opportunity to show off with a number of fast guitar solos. In truth however, much of the final third of the main set was fast-paced metal, giving drummer Pyry Vikki something of a workout, with the heavy disco of The Hero and the brash Bastard Son of Odin impressing the crowd - before the more melodic Eden brought things to a close. Chants of the band's name soon brought them back out however, with a three-song encore following. Some of the best was saved for last however, with the strange ballet of No More Hollywood Endings and the anthemic rock stomp of King for a Day seeing plenty of headbanging from the crowd. There was one fast-paced track left however, with Beyond the Burning Skies bringing the evening to a powerful close. The reaction from the crowd was electric, and even the band seemed a bit taken aback by the cheers throughout - and especially at the end. A great set from a band that is really starting to move waves in the metal world! The setlist was:

Unbroken
Familiar Hell
Straight to the Heart
Black Ninja
Endless Summer
I Wish
Raise Your Fists
The Golden Horde
Out of Control
The Hero
Bastard Son of Odin
Eden
-
No More Hollywood Endings
King for a Day
Beyond the Burning Skies

The evening was an excellent one, with two of power metal's current rising stars really putting on great shows for a good-sized and appreciative crowd. Cyhra showed that they could reproduce their poppy and melodic sound live, and Battle Beast demonstrated their power - and showed that in a fair world they would already be big hitters in the world of metal.

Queensrÿche - Manchester Review

Those who know me, or who regularly read this blog, will be familiar with my love for the Seattle-based progressive metal band Queensrÿche. I first started listening to them in around 2008, and they have become a big part of my life ever since. My first experience of the band live was a rather limp and disappointing set at London's High Voltage Festival in 2011; but the line-up drama and changes that followed has ensured that the band's live performances of late have been stellar. Frontman Todd La Torre has certainly kicked the band up a few gears, and the seven years since his arrival in the band have been extremely productive - leading to the release of three excellent albums and a number of tours. Since their somewhat 2012/2013 re-brand, culminating in the release of their self-titled album in 2013, Queensrÿche have been relatively regular visitors to the UK. I had previously seen the La Torre-version of the band four times, including an excellent set at this year's Bloodstock Open Air, but I was not content for that to be it for 2019. The band scheduled in a couple of shows around their Bloodstock appearance, which I sadly could not make, so when they announced another handful of shows for the end of the year I knew I had to make the effort. The batch of shows was very northern-centric, so I opted for the show at the Club Academy in Manchester as it tied in with some other plans that I had already arranged. Manchester trips are extremely rare for me due to its proximity to Plymouth, but it was nice to return to the city after a four year absence. The Club Academy was a new venue for me, and is one of many situated at the University of Manchester. Student Union venues are something of a thing of the past now it seems, which is a shame. In theory, they are perfect locations for music venues - as they have a captive audience of potential punters and are usually in convenient locations. Back in the 1970s and 1980s, most Universities had Student Union venues - and bands would regularly tour the circuit they created. Bars and clubs now make up the majority of Student Union entertainment, but Manchester seems to be bucking the trend with at least three different venues operational in the building. When I turned up for the Queensrÿche show the place was buzzing, with fans of all different kinds of music congregating and the various bars doing a roaring trade. Other Universities are certainly missing a trick, as I imagine the Student Union was really raking it in as a result of all the activity! The Queensrÿche show was in the Club Academy, which was the Union's basement venue. It was a smallish room, but still large enough for a few hundred metalheads. With Amon Amarth playing across town there was certainly competition for punters, but Queensrÿche still managed to attract a healthy crowd and those who chose their show certainly were rewarded for their efforts.

There were two support acts to entertain the crowd before Queensrÿche's set however, and the first of the two took to the stage only a few minutes after the venue opened. Up first were Dark Sky Choir, from New Jersey, who did not let the small initial crowd put them off. The band, which features guitarist Ira Black who I was previously somewhat familiar with, proceeded to tear through a number of heavy tracks during their half an hour on stage - and started to build something of a rapport with the crowd as the show progressed. The band's sound was fairly typical modern-sounding heavy metal, but they are blessed with the vocal talents of frontman Brian Allen who hit some impressive high notes throughout the band's set. The songs were not as catchy as they could have been, but some of the choruses stood out due to Allen's histrionics. He really made his presence felt throughout the band's time on stage, and impressed me with his raw and powerful vocal talents. Black also impressed throughout with some chunky riffs and shredded solos, but I did not think that the songwriting overall was as strong as it could have been. The band are still pretty new though, and I feel that they have all the ingredients to make something of themselves. They are certainly a band to keep an eye on, as I think with the talents involved they could create something special in the future if they put their minds to to it.

The Greek power metal act Firewind were the evening's special guests. Firewind are a band I have seen in their own right a number of times, so I was looking forward to catching them again - despite the fact that they would have a much shorter set than usual. There were clearly quite a few Firewind fans in attendance however, as the band did not have to work very hard to get the crowd going - and at times the show had a feeling of a co-headline one with Firewind really delivering in a big way. This is the tail end of the band's Immortals tour, so the setlist was something of a condensed version of the other recent Firewind shows that I have been to. Ode to Leonidas is still a powerful opening number, with the spoken word intro whipping up some early excitement before Gus G. (guitar/vocals) and co. took to the stage. The Club Academy stage is quite small, so the band were all cramped together at the front but they did not let this deter them. Fast-paced power metal anthems such as We Defy and Head Up High came thick and fast early on, with frontman Henning Basse's gritty, powerful vocals cutting nicely through the mix as he led the charge. Those of us down the front were clearly all Firewind fans, as there was plenty of singing along and cheers when G. launched into one of his many guitar solos. Not to be outdone, Bob Katsionis (guitar/keyboards) also made his mark with some shredded keyboard solos in many of the songs - although sadly the keyboards were a little low in the mix at times. A highlight of the set, as always, was the lengthy instrumental The Fire and the Fury which was a showcase for all four of the band's instrumentalists. G. took most of the spotlight with his soloing, but it never get old seeing Katsionis shredding on his keyboard and guitar a the same time! The instrumental allowed Basse chance to have a bit of a rest, and he came back with re-doubled vigour for the final three numbers. The somewhat poppier Mercenary Man, which was the first Firewind song I ever heard, brought a big cheer from the crowd – before the band dipped back into the catalogue for the heavier I Am the Anger. Katsionis abandoned his keyboard completely here in favour of his guitar, and the piece really rang around the Club Academy – with Basse belting out the anthemic chorus with ease. It was left to the melodic Falling to Pieces to finish everything off, with G. encouraging the crowd to jump up and down which those of us down the front did. It was a triumphant end to a powerful 45 minutes of music – and one that was worthy of a headline slot. The setlist was:

Ode to Leonidas
We Defy
Head Up High
Hands of Time
World on Fire
The Fire and the Fury
Mercenary Man
I Am the Anger
Falling to Pieces

Given that the venue opened at 7:30pm, and there was a curfew at 11pm, by the time the stage was ready for Queensrÿche they only had time for around 75 minutes of music. Considering the longer headline sets the band have been playing throughout the year, it was a shame that the UK shows seem to have been short-changed a little in this regard. La Torre was somewhat under the weather too however, so I wonder if the current shortening of the set length was also to take the pressure off him a little – which would be understandable. I was looking forward to hearing a decent amount of the newer songs live, which the band have been featuring in the set this year, but unfortunately it was many of these that were cut to slim the set down – leaving the classics intact. A new song kicked things off however, with Blood of the Levant whipping up a storm with Michael Wilton’s (guitar) Eastern-tinged guitar leads and a punchy chorus which saw La Torre unleashing the first of many high-pitched screams. Being a shorter set, the songs played were largely similar to their Bloodstock set back in August, with a few additions, so it was the grunge-inspired I Am I and the sci-fi prog of NM 156 that led the charge early on. The latter in particular impressed, with La Torre’s stilted vocals and a lengthy dual guitar solo between Wilton and Parker Lundgren (guitar/vocals) wowing the good-sized crowd. The only other new song played was the excellent Man the Machine, which received a large cheer following La Torre’s announcement of it. I do not want to labour the point of the lack of new material in the set, as I still really enjoyed the show, but it is frustrating that it is seven years into La Torre’s reign as frontman and the band are still reluctant to really showcase the material that they have written with him. The fact that it was all newer songs that were cut to facilitate the shorter set really shows this and as much as I love all the classics, they are all songs that fans have heard live a number of times over the years. I know I would have liked to hear a lot more of the newer songs showcased and, given the reaction to Man the Machine, I think many of the others in the crowd would have also enjoyed that.

That being said the classics, of course, were all extremely enjoyable and lapped up by the crowd. Walk in the Shadows and the anthemic Operation: Mindcrime saw plenty of headbanging, but it was the ballad Silent Lucidity that received one of the best reactions of the night. Under the weather or not, La Torre nailed the gorgeous song – and Wilton took it to another level with his soaring solo. Due to La Torre’s health concerns, some help was enlisted on a couple of numbers. The hard-hitting Queen of the Reich saw Dark Sky Choir’s Allen helping La Torre out vocally – which involved him hitting some impressive high notes of his own – and Firewind’s Basse sung the lion's share of the commercial Jet City Woman later on. In the interim, the crazy pseudo-tech metal of Screaming in Digital – with Eddie Jackson (bass guitar/vocals) showing off vocally during the chorus – and the moody Take Hold of the Flame kept the crowd going. The latter saw plenty of crowd interaction, with the anthemic chorus seeing plenty of fist pumping encouraged by La Torre and Lundgren. Jet City Woman was the end of the main set according to the on-stage setlist, but the band never really left the stage and blazed into the final two songs with extra venom. La Torre's little break during Jet City Woman meant that he came roaring back for the fast-paced The Needle Lies, which saw some excellent drumming from Casey Grillo. The former Kamelot drummer seems to have made a home for himself in the band over the past couple of years. It seems that Scott Rockenfield is not coming back any time soon, if ever, but in the meantime Grillo is really making the drum stool his own. It was left to the excellent Eyes of a Stranger to bring the evening to a close, with more dual guitar leads and a soaring chorus from La Torre ending things on a high. The setlist was:

Blood of the Levant
I Am I
NM 156
Man the Machine
Walk in the Shadows
Operation: Mindcrime
Silent Lucidity
Queen of the Reich [w/ Brian Allen]
The Mission
Screaming in Digital
Take Hold of the Flame
Jet City Woman [w/ Henning Basse]
The Needle Lies
Eyes of a Stranger

Despite a disappointingly short set, with a lack of many of the newer tracks that the band have been showcasing throughout the rest of the year, Queensrÿche's set was still very enjoyable – with La Torre putting on a strong showing despite his health issues. After the show I met a few members of Firewind, including G., at the merch desk and got my copy of Immortals signed – which was great. I will never get bored of seeing Queensrÿche, and indeed Firewind, live but I hope next time the band can deliver a proper full-length set for the fans.

Eclipse's 'Paradigm' - Album Review

Sweden's Eclipse have been releasing top quality AOR albums since their formation in 1999. The four-piece, led by frontman and songwriter Erik Mårtensson, is probably one of the most consistent modern AOR acts going, with their music always treading a fine line between being extremely accessible and hard rocking. Eclipse are certainly no sugary AOR throwback act, but a strong hard rock band in their own right that inject melodic rock sensibilities into their songwriting. I was quite late to board the Eclipse train however, but picked up 2012's Bleed & Scream in the year or so after its release. Hearing one of the singles on Youtube impressed me, and the John Sykes-esque guitar riffing of lead guitarist Magnus Henriksson is what initially drew me in. Despite being a latecomer to Eclipse, I was already familiar with Mårtensson's style due to his - at the time - heavy involvement with Frontiers Records. Eclipse existed and released albums before being signed to Frontiers, but once they made the transition Mårtensson was instantly put to work by the label on a plethora of their numerous in-house fantasy projects. I have spoken before about my distaste for the label's 'vanity bands', and unfortunately Mårtensson seemed to find himself caught up in many of these efforts, with many of his songs appearing on 'solo' albums by Jimi Jamison, Bobby Kimball, and a host of other one-off projects. Luckily he seems to have extracted himself somewhat from the Frontiers grind now, which has given him chance to focus on Eclipse and his other main projects a greater deal. Last year saw Mårtensson writing songs for W.E.T., his main side project featuring singer Jeff Scott Soto and others, with their third album Earthrage (which I reviewed here) being released in March 2018. With the new W.E.T. album and a handful of live dates out of the way, Mårtensson turned his attention back to his main band and set about writing a new batch of songs with Henriksson for the band's seventh studio album. Released last month, Paradigm is classic Eclipse - and anyone who has in particular loved the band's last couple of albums will instantly connect with this one. The band's last album, Monumentum (which I reviewed here) from 2017, seemed to present a slightly more concise Eclipse than had been seen previously - and Paradigm continues that trend. The new album is under 45 minutes long, and contains very little filler - which makes it an extremely easy and enjoyable listen. With a band like Eclipse you always know exactly what you are going to get, and there are no changes to the band's established sound here. Hard-hitting AOR is the name of the game again here, and the band sound as good ever. The four that made Monumentum return here, with bassist Magnus Ulfstedt and drummer Philip Crusner joining the band's founding members once again, although Paradigm will be the last album with Ulfstedt who left the band not long before the album's release.

As with all of Eclipse's albums, Paradigm gets underway with an anthem. It is hard not to imagine Viva La Victoria opening the band's shows on their next tour, as it is the sort of track that grabs you by the throat and never lets go. The opening few seconds are deceiving, with some gently-plucked acoustic guitar notes, but when the rhythm guitars crash in the song really gets going. The opening melody is expanded upon greatly, and gives way to a 1980s hard rock chorus with some smooth vocals from Mårtensson and dynamic drumming from Crusner. Mårtensson's knack for writing a soaring chorus is explored here, and throughout the album, with an anthemic moment showcasing some excellent melodies early on - before Henriksson takes over late on for a short solo. It is the sort of track that Eclipse have been putting out since forever, and it encompasses everything that is great about the band in a few short minutes. The only weakness that the song has is that it is not as good as Mary Leigh that follows it, but considering that Mary Leigh is my favourite song here I will forgive the opener that transgression! The AOR elements are pushed right to the fore here, while the band's trademark crunch is retained with some razor-sharp rhythms from both Mårtensson and Henriksson. The increase of keyboard use helps to raise the song to the next level for me however, and it really takes me back to many of my favourite 1980s melodic hard rock records. A killer chorus is the true icing on the cake, and it sees Mårtensson laying down melody after melody, with soaring harmonies just bigging everything up. The track is one of my favourite Eclipse cuts to date, and it is easily the album's highlight for me. Blood Wants Blood is somewhat similar to the album's opening number, with a slower melody opening everything up before the band crash in and take the melody to the next level. Eclipse have never been shy about rocking out, and this track certainly takes on a bit of a heavier feel than many of their songs. Mårtensson's vocals during the verses see him singing in a slightly lower register than usual, while Ulfstedt's bass rumbles away enhancing the song's heavier vibe. This does not mean that the song is any less melodic than usual however, with a chorus typical of the band's sound - with Def Leppard-esque harmonies and plenty of catchy refrains. The heavy feel of the song ensures that Henriksson shines with a shredded solo too, adding further to that vibe. Shelter Me is the first slower track here, and it is something of a ballad. It opens with some gentle clean guitar melodies and Mårtensson's heartfelt lyrics, but it slowly begins to build around a pulsing chorus - with Crusner's drumming adding a staccato, fist-pumping rhythm to accompany the vocals. The chorus is an instantly catchy moment, with some excellent melodies that will immediately stick in the head of anyone listening. While the track is something of a ballad, it is still not afraid to rock out, with the chorus in particular packing a bit of a punch and contrasting nicely with the more stripped-back sections.

United, unsurprisingly, it something of an anthem. It is not one that hits you between the eyes however, but instead opens with some upbeat acoustic guitar chords and Mårtensson's vocals. He initiates something of a call to arms with this folky opening, but it is not long before the rest of the band join in. The more laid back opening again acts as a contrast to the sections to follow, with a stomping pre-chorus section introducing rockier elements before exploding into a simple chorus with some strident vocal melodies and subtle harmonies. The sound is not as big here as on some of the other songs, but there is a primal simplicity that shines through. It is an extremely easy song to sing along to, and I imagine it will be a popular track on the band's upcoming tour. Delirious opens with a somewhat distant-sounding guitar lead, while the drums and bass build up around it, before a big Henriksson riff kicks in which includes plenty of those John Sykes-esque moments that originally attracted me to his playing. Crusner's occasional bursts of double bass drumming only enhances this mood, and encourages him to riff even harder, while Mårtensson conjures up a host of excellent melodies around his playing. The song in general is fast-paced, with a pacy verse and an urgent chorus that is another of the album's best. The vocal melodies and harmonies are a little more sugary here, but that works well against the more overtly 'metal' backdrop of the song. The contrast is a fun one, and the lengthy shredded solo that Henriksson performs is one of the album's most individually-explosive moments. When the Winter Ends is another slower track, with an acoustic opening and a bit more of a general laid back sound despite some chugging guitar rhythms and an expansive cinematic chorus that sees the band sounding their biggest. There are few better chorus writers in 2019 than Mårtensson, who rarely seems to fail crafting one. While not every song that he writes is a hit, you can usually guarantee that the chorus will at least be big and catchy. That is the case here, and is certainly the best moment of the track - and it really seems to hold everything together. Some big wordless vocal sections play off the chorus melodies, which adds some fun to the piece, before the song slowly fades out with an extended instrumental outro which features a lengthy Henriksson solo - perfectly phrased so it fits in with the song's overall mood. .38 Or .44 ramps things up again somewhat, with an impressive Crusner drum intro starting things off before an early Helloween-esque riff takes over. Mårtensson is known to be a big metal fan, and he occasionally injects some of his love of the genre into his AOR writing. This is a track that benefits from this influence, with some heavier riffing throughout to toughen things up - although a greater keyboard presence helps to add some extra melodies. It is perhaps unsurprising then that the chorus has something of a power metal feel, with some powerful vocal melodies and a constantly driving drum pattern that never lets up.

Never Gonna Be Like You is more of a 'standard' Eclipse track, although it is also one of the least-interesting pieces here in my opinion. My theory about Mårtensson's chorus-writing abilities show to be true here however as, despite the song not being one of the album's best cuts, the chorus is still strong and interesting. The rest of the song just falls a little flat in comparison to the rest of the material on the album, with verses that fail to grab the attention and a lack of stand-out melodies. The chorus is good however, so at least there is still something to enjoy as the song passes by on listens to the album. The Masquerade gets things back on the right track however, and again showcases something of a power metal influence with an anthemic chorus opening the song up and a pounding, strident drum pattern keeping everything moving throughout. This is likely to be another song that is going to be a favourite on the upcoming tour, and I can understand why it was released as a single prior to the album's release. While not one of the album's very best tracks, it is an instantly-catchy song that again showcases everything that is great about Eclipse's sound in a single song. Mårtensson's vocal display throughout the track is also excellent, with some real venom seen during parts of the verses before he goes into full-on stadium rock mode for the chorus. The album comes to a close with Take Me Home, which opens with a heavy-sounding bass and drum combo - while a strong keyboard backing helps to create an atmosphere. Keyboards in general are not used as prominently throughout this album as they have been on previous Eclipse records, but I think that goes to show how much of a hard rock album this is. The riffing throughout is much heavier than on your average AOR album, and that is what makes Eclipse stand out from the crowd for me. The keyboards do a great job to add depth here however, as the track closes the album in style with more of a cinematic sound - with a few soaring guitar leads thrown in for good measure. There are also hints at Celtic-esque melodies throughout too, with some of the guitar leads sounding like something from a long lost folky Thin Lizzy song - which is certainly something a little different for Eclipse. It is a fairly atypical track for the band, but it works well as a closing piece with some more excellent Mårtensson vocals and an atmosphere that perfectly brings the album to an end. Overall, Paradigm is another strong release from the Swedish band and one that sees them rock possibly the hardest that they ever have. I love the band's mix of AOR and hard rock, and leaning towards the latter on this album certainly worked well for Mårtensson and co. I hope that the band add some UK dates to their upcoming tour, as I would love to catch the band live for a second time.

The album was released on 11th October 2019 via Frontiers Records. Below is the band's promotional video for The Masquerade.