Alter Bridge's 'Alter Bridge' - Album Review

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

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

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

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

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

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

Music of 2025 - Part 2

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

10) Young Gun Silver Fox - Pleasure

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

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

9) Sabaton - Legends

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

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

8) Amorphis - Borderland

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

Listen to: Bones, Dancing Shadow & The Strange

7) The Night Flight Orchestra - Give Us the Moon

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

Listen to: Stratus, Shooting Velvet & Runaways

6) Epica - Aspiral

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

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

5) Avantasia - Here Be Dragons

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

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

4) The Doobie Brothers - Walk This Road

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

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

3) Helloween - Giants & Monsters

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

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

2) Dream Theater - Parasomnia

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

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

1) Mostly Autumn - Seawater

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

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

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

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

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

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

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

3) Fish, Bristol Beacon, 26/02/2025

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

2) Toto, BP Pulse Live, 02/02/2025

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

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

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

Music of 2025 - Part 1

As I write this, there are only a few hours of 2025 left. Despite those, generally from the older generation, that seem to want to continually insist that there is no good music being made anymore, 2025 has been another excellent year for music and concerts. I have written the most ever blog posts in a single year this year, and I also attended the most concerts in a calendar year in 2025 - with 58 shows, which averages at over one a week, attended. It has been a very tiring year, especially during the first couple and last couple of month blocks - and 2026 is already shaping up to be another strong gigging year, with 25 tickets already purchased. I cannot see myself topping 58, which is ludicrous when thinking about it, but I am sure that 2026 will be busy - and I will be crossing a couple of big names off the list including the likes of Metallica and Sammy Hagar. In terms of new albums, too, 2025 has been excellent. Putting together my Albums of the Year list, which will follow tomorrow, is always tricky - and this year was no different. Outside of a couple of big standouts, the rest of the list really could have been filled by a number of other very strong releases - and I do not think that I will ever tire of hearing new music. As always, I only have a limited time to review albums each year. I think that I manage to get an impressive number covered each year, but there are always many more that I wished I had covered - and there are likely plenty more excellent albums that came out this year that I have not even heard yet. One person cannot hear and review everything - and it should be pointed out that this blog is 100% run by me. Everything here is written by me and each album I review was bought by me. I have no contacts in the music industry so I do not receive promotional copies of albums - and I have never been guest listed at a concert in exchange for a review. This is a blog by a music fan who just wants to get his thoughts down and, largely, be positive about all of the excellent new music and concerts he experiences. There is no agenda here - and the reason that most of the coverage here is positive is because I do not tend to buy albums that I do not think I will like. There are disappointments sometimes, of course, and the occasional dreadful support band sadly comes on my radar, but this blog largely celebrates the best of new hard rock and metal - with other genres occasionally thrown in for good measure. I work full time, and my gigging calendar often takes up a lot of my free time - so all the reviews I manage to get to are generally squeezed in during evenings and free weekends. Given my busy lifestyle I think I manage to review a respectable amount each year - and I plan to do that for as long as I am able to. Readership here is fairly low, but enough people stumble across the reviews to make writing them worthwhile - and I knew a few bands that have been grateful for the coverage in the past. As always, though, there were albums that I did not get around to reviewing this year - either because I did not get them close enough to their release date to make covering them worthwhile or because they came out during busy times and I prioritised other releases. As such, as I have done for the past few years here, I will cover five albums that I did not get to during the year - presenting five additional mini-reviews to round out the year. As has become tradition, too, I will also briefly review my favourite live release of the year - as I do not cover live albums on this blog as a rule.

Kicking off this series of mini-reviews, then, is the latest album from the Swedish power metal act Bloodbound, Field of Swords. This one came late in the year, dropping in late November, so I just ran out of time to cover it properly. I have been aware of Bloodbound for years, but I only checked them out properly this year. I have spoken regularly this year, especially during the second half of the year, about my re-discovered love of power metal. The second half of 2025 seems to have been dominated by power metal - and Bloodbound are not the only power metal band to be featured in today's post. I picked up 2021's Creatures of the Dark Realm a couple of months ago, and enjoyed it, only to find out that a new album was soon due. As such, I picked up Field of Swords and have been very much enjoying it. Despite the band having a keyboard player, and there are certainly some big synth-led moments and symphonic overtones, Bloodbound generally feel a bit more guitar-driven than some of the fast-paced, modern power metal acts. The keyboards add a lot without ever sounding too cheesy, but the Olsson brothers on guitar tend to drive everything - with nicely layered riffing, harmony guitar leads, and plenty of shredded solos. There is a heaviness to some of the band's material which eludes some up-tempo power metal bands, then, and Fields of Sword really manages to straddle the line between big, poppy melodies and a metallic crunch nicely - incorporating both. The band tend to remind me of a faster-paced and more symphonic HammerFall - rather something overly bombastic or silly like Gloryhammer. The sing-a-long choruses and endless solos are very easy to latch onto, then, and I can see myself listening to this band a lot more going forward.

More power metal follows, and we stay in Sweden for the latest effort from Majestica, Power Train. I had been aware of the band for a while, due to them being fronted by former Sabaton guitarist Tommy Johansson, but it was not until seeing them live with Battle Beast back in October that I actually started paying attention. I soon picked up the band's second full-length album (excluding a 2020 Christmas effort), which was released back in February, their first since 2019's Above the Sky. Whilst I know that Johansson used to front a band called ReinXeed, which Majestica is essentially a rebranded version of, I get the impression that the Majestica era is meant to be seen as something of a new start. Outside of Sabaton, Power Train is my only exposure to Johansson's work, though, but I have been really enjoying it. It is, unashamedly, a power metal record - with fast songs, plenty of double bass drumming, poppy choruses, big synths, and lots of shredded, neo-classical solos. Johansson looks and sounds a bit like Yngwie Malmsteen - and Power Train might have been something Malmsteen could have written had he worked with a proper singer and stopped taking himself so seriously. Thankfully, though, Johansson is also a great singer - and there are plenty of melodic choruses here to sing-a-long with, alongside some big, high-pitched screams. Compared to the Bloodbound album previously discussed, Power Train feels much more up-tempo and poppy. There is less of a crunch here, but the guitar playing throughout is still weighty and busy - whilst the smooth synths allow a core power metal sound to shine through. I will be following this band going forward - and will pick up their older albums in due course.

Turning now to something totally different - and one of the big names in the current UK progressive rock scene: guitarist Luke Machin. Machin burst onto the scene in the early 2010s as the frontman of the progressive metal act Maschine, but since then he has made his name playing with a number of well-established UK-based progressive rock acts - including It Bites, The Tangent, and Karnataka. Whilst Maschine was always his vehicle, and I get the impression that a third album is in the works despite the band having been quiet for a while, this year Machin launched his solo project Soulshine - with its self-titled debut album dropping earlier in the year. I only picked this one up recently, at a Karnataka concert, so I have not spent that much time with it - but it is certainly not what I expected. Whilst there is certainly some prog on here, particularly towards the end of the album, it is an extremely diverse release which straddles pop, soul, funk, rock, prog, and even the odd hint of hip-hop. A huge number of well-known guests helped to bring the album to life, including the likes of Pain of Salvation's Daniel Gildenlöw, UK prog scene stalwart Peter Jones, and guitar hero Guthrie Govan; but some of the best vocal performances early on come from relative unknowns in Sh'kye and Anastasia Pshokina. Pop hooks, a mix of programmed and acoustic drums, and plenty of busy guitar playing makes Soulshine a captivating and evolving listen - with the closing ripping instrumental Final Boss touching on jazz fusion thanks to some busy saxophone.

Moving away from the genre-bending previous album, then, to something more grounded and hard rocking. Despite having first seen them back in 2018 opening for The Quireboys, and watched them rise through the ranks since, 2025 was the year that I properly gave Those Damn Crows a chance. They did not do much for me back in 2018, but when a local show in a surprisingly large venue was announced earlier in the year I was curious. I knew that the band were getting a lot of love, and given the little effort it would take to see them I bought a ticket. In the lead up to the show, which I enjoyed, I picked up the band's four albums - including latest effort God Shaped Hole, which dropped back in April and reached number one in the Album Charts. This is a great achievement for the band - and the tour took in some surprisingly large venues - seeing them play to around a 1000 people here in Plymouth. Whilst I think I prefer the band's previous couple of albums, which rock a little harder and feel a bit less earnest, God Shaped Hole remains a strong effort. It is the sort of album which the band likely thinks showcases a more 'mature' side of their songwriting. This is generally code for 'less fun', and God Shaped Hole is less fun that what came before - but the songwriting remains tight and enjoyable, even if there are too many slower songs here and not enough riffy rockers. I can see why it caught on, though, and topped the chart - and many of the songs ended up feeling much bigger live, as most of them were played live at the show I went to. Post-grunge and the US radio rock-influenced British rock bands are not always my favourites, but I have been glad to catch up with Those Damn Crows again this year.

Rounding off this mini-review series is Slots - the latest solo album from CJ Wildheart. Easily the most straight ahead of the five albums covered here, Slots continues on from CJ's current prolific run of strong solo albums - mixing hard rock, punk, and pop together to create a sound which is not too far away from his previous day jobs with The Wildhearts, Honeycrack, and The Jellys whilst perhaps feeling much punkier. I have gotten to know CJ's solo catalogue a bit over the past year or so, having seen him live three times, and each show has found him and his band in rude form. Songs from Slots have dominated his setlists this year - with their hard-driving riffs, jumping energy, and hooky choruses wowing audiences each time. It is an album that is easy on the ear despite the heavy riffing and plentiful energy - and with CJ handling basically everything besides the drums this is a true solo effort. A fun cover of The Jam's In the City is included - but it is the tight original material that of course shines. It may be quite similar to what came before, and what will come after (as CJ is already working on his next album), but this sound never really gets old - and it is great to see CJ so prolific and busy since the classic Wildhearts line-up crashed and burnt a few years ago.

That is the end of 2025's coverage of new albums but, as mentioned, I also like to give a shout-out to my favourite live release of the year. There have been a lot of excellent live albums this year, but my favourite is the latest live release from Dream Theater, Quarantième: Live à Paris, which was recorded on the band's 40th anniversary tour last year - and their first with founding drummer Mike Portnoy since 2010. Dream Theater are no stranger to live albums, and the band have a huge amount of them at this point, but a record of this fantastic tour was always going to be a must-have. I went to the tour's opening night in London, which was my favourite gig of last year, and it was easily the best Dream Theater show that I have been to to date. The band have never disappointed live, often keeping setlists fresh from tour to tour - but the tour last year pulled out all the stops in terms of production and song choices. Punchier, heavier songs came early - mixing favourites like The Mirror and As I Am with songs not played for a while like Panic Attack and Constant Motion - whilst a barnstorming second set saw the band really go for it with gargantuan numbers like Stream of Consciousness and Octavarium wowing the crowd. Whilst it is a shame that the London show was not filmed, as the atmosphere was electric throughout, which is unusual for shows at the O2 Arena, I imagine that each show on the tour received a similar reception - and the crowd at this Paris show do their bit to make this latest live album a real triumph. The sound quality and mix throughout is excellent, with each of the band's five members doing their bit to really make the near-three hour experience a special one - whilst the concert film is shot tastefully and with real precision.

Well that wraps up my coverage of 2025's new releases - save for my Albums/Gigs of the Year lists which will follow tomorrow. I always like start each new year looking back at the best of the previous one - and 2025 has been full of greatness as has already been alluded to. I will close this post out by looking forward to 2026, though, as there are already a number of potentially very exciting albums I am looking forward to hearing during the first few months of the year. The first review of the year is likely to be of Alter Bridge's upcoming self-titled album, which drops on 9th January, whilst another self-titled album, this time from thrash titans Megadeth, is due later in the same month. Perhaps the most intriguing new release early on, though, will be the third album from a reformed Glamour of the Kill - and band's first proper release since 2014. The singles sound promising, if a little different, but I am glad to have the band back after a lengthy hiatus and a failed reboot in 2018/2019. Looking slightly further on, too, I am ready for The New Flesh, Sylosis' latest opus in February - whilst Tyketto's Closer to the Sun should provide some feel-good vibes in March. Much more that is currently unannounced is sure to follow, too, and I have no doubt that 2026 will be as good as ever.

Mostly Autumn - Bilston Review

It was often the case that The Quireboys were the final band I saw live each year. For a few years that happened - but more recently that crown has been given to Mostly Autumn. Whilst the York-based progressive rock act are certainly less focused on playing live than they once were, they can be relied on to deliver a handful of big Christmas shows each December. They usually take a trip abroad for a few shows in Europe, before returning to a handful of tried and trusted UK venues to close out the year - one of which being The Robin 2 in Bilston. The venue has long been something of a second home for the band - and Mostly Autumn often visit it twice a year, once earlier in the year around some other shows and once as part of their customary Christmas tour. I have seen the band at the venue a few times over the years, both in the summer and at Christmas time. Mostly Autumn's Christmas shows are always something special, and I wish I could get to one every year, but sadly that is not always possible. It has become more possible of late, though, and last year I headed up to the West Midlands on the weekend before Christmas to catch the band in Bilston - and I did exactly the same this year. I tied in seeing the current up-and-coming darlings of the hard rock scene Jayler in Wolverhampton the night before this time, so I had a proper weekend in the Black Country, but the main event was always going to be Mostly Autumn's end of year show. Despite having seen the band many, many times, a Mostly Autumn show is always something special. I have never really been disappointed by the band live, even if, looking back, there have been some periods which were less fiery than others, and the band's Christmas shows have often been big highlights when it comes to looking back at the list of their shows I have been to. That series of special shows in Leamington Spa from a decade or so ago aside, many of my favourite live experiences seeing the band have taken place near to Christmas. The band just seem extra fired up around Christmas time, and they play for a long time even by their standards - playing a full set and then throwing in some Christmas cheer at the end. It always helps when a new album is being promoted, too, and with the band still giving plenty of love to the songs from Seawater (which I reviewed here) the show felt special. I saw the band in Tavistock earlier in the year, so had seen the new songs performed live once - but I was looking forward to hearing them live again, and the band always seem to pull out all the stops when it comes to shows in Bilston. This show was also something of a personal milestone for me - as it was my 50th time seeing the band live. Whilst I am sure that this pales in comparison to some totals, it feels like a notable milestone none the less. Whilst Mostly Autumn are one of my favourite bands, I like a vast amount of music - and always try and see as many different bands live as I can. Mostly Autumn have often just made it easy to see them live over the years - given their regular visits to the South West, as well as their yearly slot at the Cambridge Rock Festival during the years I was regularly going to it. I have often made an effort to get to the band's bigger and more event-like shows, too, so gigs can really rack up over a 19 year period. Mostly Autumn were the first proper band I ever saw live back in 2006 - and they essentially kick-started this lifestyle I now lead. There will be many more to come I am sure, even though I sadly will not be able to make the band's yearly trip to Tavistock next year - due to a date in London with none other than Metallica.

As is generally the case with the band's gigs, the show was split into two sets. The Robin 2 has started opening earlier on a Sunday, too, so the band hit the stage at bang on 5pm. This was the case last year, too, and it meant that I was at the bus stop at around 8:10pm - which was actually quite welcome. The setlist was largely the same as the one played earlier in the year, apart from the Christmas additions, but there were a couple of changes - and things moved around somewhat. Thankfully, all of the eight new songs played then were also played this time - and the show kicked off with the lengthy Let's Take a Walk. The slow-burning song may seem like a strange one to open a show with, especially given that Bryan Josh (vocals/guitar) opened the show by singing along to the song's atmospheric intro before the rest of the band join in, but it works well in my opinion - and when the band crashed in after the first chorus the show really felt like it was underway. Gorgeous harmony vocals from frontwoman Olivia Sparnenn-Josh, a couple of big guitar solos, and plenty of Hammond organ from keyboard player Iain Jennings made the song really tick - and when Henry Rogers (drums) transitioned from its climax to the busy intro to In for the Bite the energy levels rose. This song returned to the set having missed out earlier in the year - and the spiralling guitar melody with Sparnenn-Josh's haunting vocals ensured that a harder rock vibe kicked in following the sprawling opener. There was quite a bit of punch throughout the first set in general I thought. There was downtime, but when the retro hard rock of Winter Dreaming, with a big organ solo from Jennings, and the more symphonic Western Skies are played back-to-back the energy levels are going to rise further. Western Skies may start slowly, with multi-instrumentalist Angela Gordon's flute melodies, but by the time it closes it has morphed into a dramatic symphonic monster which always works well live. Even the folky Why Do We Remember All the Rain, a real throwback to the band's early days from the new album, seemed to hit hard - with Sparnenn-Josh delivering the rocked up folky number with real warmth. Again, plenty of organ helped the song to shine - whilst the jig-like closing section, with Gordon's instrumentation, really sounds like the band of the 1990s. Future Is a Child has already become my favourite song from the new album, and it deserves to be a setlist staple for a long time. It has everything that makes for a great Mostly Autumn song, with a powerful chorus, strong emotions, folky moments, and a lengthy guitar solo - and hearing it live again was a real treat. I hope that the band keep playing it live for a long time - and it felt fitting that a returning Passengers followed it to allow for a little bit of a breather. The older ballad has always been a great addition to any Mostly Autumn set, and the lighter touch allowed for a moment of reflection following the majesty of the previous song. Chris Johnson's (vocals/guitar) first showcase moment then came with his stunning Silver Glass - with Gordon playing the opening synth melody on the flute this time, which I am not sure I recall happening before. This change worked well, though, and the song was as powerful as ever - with Josh's big guitar solo an emotive moment. The first set came to an end with the epic The Night Sky, an oldie which has been showcased quite a bit over the past couple of years. The Pink Floyd-esque track is very different from where the band are now, but Jennings' synth melody, the dual vocals of Josh and Sparnenn-Josh, and the wintry atmosphere make the song a real live favourite of mine - with the lengthy flute/guitar instrumental closing section bringing the first hour of music to a magical close.

Following a 20 or so minute interval, during which I caught up with some friends I had not seen for a good while, the band trooped back on stage - and the semi-industrial intro of the instrumental piece Distant Train filled the venue. Until this year the song had been absent from the set for quite a while - but it has been fun hearing Gordon play those playful flute melodies against the hard rock of the programmed drums again. When the song kicks in properly, too, with real drums and Josh's big guitar riffing, the song always ups the energy of any Mostly Autumn show - and it appropriately morphed into Answer the Question, with Sparnenn-Josh taking the stage again for a hooky chorus. Jennings' closing piano solo is always a treat, too, and the second set got off to an old-school start - before a suite of three new songs followed. My Home and Be Something feel like two of the simpler songs from the new album, but the latter in particular works well live with its up-tempo vibe, plentiful acoustic guitar from Johnson, and its simple overall hook. If Only for a Day was the highlight of this little suite, though, and it is the latest in a line of slow-burning Sparnenn-Josh-led ballads. From its simple piano beginnings, the song moves through the gears around her vocals - and she sounded really powerful here, her vocals cutting through the mix nicely. An emotive guitar solo capped it off nicely - and I feel that the song is likely to become another setlist regular given that some of the band's other similar pieces have been retired recently. With the exception of one other song, the rest of the set was made up of relatively older pieces. Back in These Arms, the only song representing the previous album still in the set, remains a powerful live anthem - with the opening droning synths, later folky melodies, and the dual vocal approach allowing for some tight harmonies making for a strong song. I like the way that Josh always really goes for it during the chorus, too, given the song a harder rock edge. The poppier Into the Stars and Johnson's alt rocker Changing Lives followed, with the latter being a highlight as it tends to be. The shimmering piece works well live, and the closing wordless vocal section attracted something of a sing-a-long from the decent-sized crowd. The final new song, When We Ran, is fast becoming another big favourite of mine - and the live version felt a bit tighter due to the slower intro being left out. Lyrically it is great, and it is one of those nostalgic songs that the band write occasionally that references older melodies - with that familiar flute motif which has been used a handful of times appearing at the end. The main set then came to a close with the epic White Rainbow, also without its intro interestingly this time, and it was as good as ever - especially the mid-song symphonic rock workout. The acoustic-led closing section always feels good live, too, and it was stretched out a bit more this time with a more soloing. Following a brief step off the stage, a five-song encore followed. The ever-present Heroes Never Die was of course played, with Josh delivering a fiery closing solo as always, before the more plaintive Tonight saw a last powerful vocal from Sparnenn-Josh and allowed Josh to introduce the band. The Christmas frivolities followed, with three classic tracks brought to life by the band. Josh sung the relatively dark I Believe in Father Christmas, before Johnson led A Spaceman Came Travelling - which again led to a bit of a sing-a-long of the wordless chorus. The near three hours of music played at this point was then brought to a close with an elongated version of Fairytale of New York - with Josh joking around with the band during the slow-burning intro, before Gordon shone by bringing to life all the folky melodies. The setlist was:

Let's Take a Walk

In for the Bite [Bryan Josh solo material]

Winter Dreaming

Western Skies

Why Do We Remember All the Rain

Future Is a Child

Passengers

Silver Glass

The Night Sky

-

Distant Train

Answer the Question

My Home

Be Something

If Only for a Day

Back in These Arms

Into the Stars

Changing Lives

When We Ran

White Rainbow

-

Heroes Never Die

Tonight

I Believe in Father Christmas [Greg Lake cover]

A Spaceman Came Travelling [Chris de Burgh cover]

Fairytale of New York [The Pogues cover]

Mostly Autumn shows are always great - and this one was no different. It being my 50th made it a little bit more special - but in truth I was just happy to be seeing one of my very favourite bands again. Given that I will be missing the Tavistock show next year, I will have to make it back to The Robin 2 at least once next year - and maybe I will have to try and see the band somewhere different. I have always wanted to go and see them in their hometown of York - so maybe 2026 will be the year that happens.

Jayler - Wolverhampton Review

I am now home again following another weekend away in Wolverhampton. The coverage of what I consider the main event, the reason for the trip in the first place, will follow tomorrow - but I had an extended weekend away so today's piece will cover 2025's penultimate night out gigging. In some ways, it is fitting that 2025 came to an end in Wolverhampton. I have said so many times of late, but Wolverhampton has become an excellent live music destination again in recent years - and it may well be my favourite city to visit for gigs these days. The combination of the refurbished Civic Hall complex and the excellent KK's Steel Mill makes the city a diverse place - and turnouts are generally strong in the Black Country. I was just outside the city itself in Bilston the following night, with The Robin 2 adding to the area's live music excellence, but it was back to my current favourite venue, KK's Steel Mill, on Saturday - to catch one of the country's current rising stars when it comes to hard rock: Jayler. I am not sure exactly when the local four-piece were formed, but frontman James Bartholomew mentioned the band's first gig at the venue, opening for Inglorious, four years ago - so they have been around for at least that long. With only one release, the A Piece in Our Time EP from 2023, to their name, Jayler's trajectory confuses me. Whilst I might not always listen to every new hard rock band worth knowing about on the circuit, I generally at least recognise their names. I only became aware of Jayler earlier this year, when I heard their current single Riverboat Queen on the radio - and then I magically started seeing the occasional Jayler t-shirt at concerts. From never having heard of them a few months ago to the band being big enough to headline KK's Steel Mill on Saturday is a strange personal trajectory for me - but clearly I had just not been paying attention in this instance. The band are from the Black Country, though, which perhaps suggests why they were able to headline a venue the size of KK's Steel Mill - but for a band with a single EP, and a debut album due out sometime next year, a sold-out KK's Steel Mill show is a big achievement. I should point out that the venue was not laid out to full capacity, but there was certainly a bigger crowd present than I have seen there recently for some more established acts - so Jayler certainly have the potential to take things to the next level. Despite the big crowd, though, I did not think that the atmosphere throughout was that great. Quite a few people seemed to treat the night more as a bit of fun with their mates on the weekend before Christmas. Tickets were cheap, so plenty of casual rock fans were clearly out to have a few drinks to rock music - and the crowd thinned out as Jayler's set progressed, which was likely due to the fact that the show went on for far longer than any other I have seen at the venue as people headed off to catch buses/trains/trams home. These vibes, plus a likely handful of curious people like me wanting to see what the current Jayler fuss is all about, make it likely that there were fewer genuine die-hard Jayler fans in attendance than it may have first seemed - but this is not to belittle the young band's achievement. It is clear that upcoming tours with Sammy Hagar and Deep Purple show that plenty of people believe in Jayler - so it will be interesting to see what the reaction to the band's debut album will be when it drops in 2026. Turning back to the night itself, it was nice to walk up to the venue in the dry after a busy day travelling up from Plymouth, shopping in the city, and napping in the Premier Inn. Rain has been persistent of late so the dry day was welcome - and I got to the venue not too long before the doors opened.

Before Jayler's set, though, there were two support acts for the crowd to get through - one being much better than the other in my opinion. The overall format of the night was somewhat strange. Both support acts were afforded 45 minutes which, considering that the first band did not go on until just after 7:30pm, meant that Jayler did not go on until after 9:45pm (they were late on stage, too) - meaning that the night did not finish until nearly 11:30pm. Short support slots and tighter changeovers would have helped the night, as punters certainly drifted away as the clock passed 11pm as mentioned, and the night did not feel as professional as is often the case at the venue. Kicking things off were Voodoo Sioux - a long-standing local act, who seem to have history back to the 1990s, that I had heard of but had never actually heard. Given their local nature, there were clearly quite a few in attendance who were familiar with Voodoo Sioux, but I found the four-piece's music to be pretty bland. It is hard to describe the band's music, as it was very generic poppy hard rock - but very little stood out. The vocals and vocal melodies were quite weak, the guitar playing was nothing special despite some decent bluesy solos, and the overall energy seemed lacking. I thought that the bass player was very talented, though, and his busy playing stood out - as it was quite out of character with the rest of the set. I have seen bands like this in the past - where one member seems to be significantly stronger than everyone else and it often makes me wonder if that one member will end up in a bigger band at some point. Given the likely ages of the Voodoo Sioux members this seems unlikely in this case - but never say never! Given the band's aforementioned 45 minute set, after a while it started to drag. Some were paying attention and enjoying the show, but the aforementioned night out with mates vibe had already set in by this point - with plenty hanging out in the bar area and talking throughout the set. This gave the band's set the vibe of a glorified pub band - and the blandness of their music did not help this feeling from permeating throughout the time they were on stage. I was glad, then, when the band's set came to a close - and the night certainly improved from this point onwards.

The following support act, Gorilla Riot, were much better, however. I had seen the band before, opening for the short lived Guy Griffin-fronted version of The Quireboys in 2022. I remember enjoying Gorilla Riot then, but I think I enjoyed them more this time - so I really should make more of an effort to check their albums out. They were basically everything that the opening band were not. They had a clearly defined sound, plenty of attitude and swagger, and strong songwriting chops. The band's bluesy hard/southern rock sound may not be typical coming from a UK-based act, but frontman Arjun Bhishma and his band have nailed that whiskey-soaked sound - and the next 45 minutes really flew by. Groovy, bluesy riffs drove the band - with Bhishma and fellow guitarist Charly T. interlocking nicely throughout whilst the latter occasionally used a slide to further that southern rock sound. Vocally the band were powerful, too. Bhishma's deep voice has plenty of grit and this allowed him to really own the band's songs - whilst soulful female backing singers added plenty of depth. Throughout the whole evening, though, the sound was never really perfect. It was better for Jayler, but both support acts felt rather quiet - and for some reason the sound engineer kept fiddling with the bass drum levels during Gorilla Riot's set. At times it was absolutely dominating the mix, for no real reason, whereas other times it could barely be heard at all. The whole operation of the night felt less professional than is perhaps typical, but Gorilla Riot battled through such issues - delivering plenty of memorable bluesy anthems. I remembered the song Bad Son from seeing the band live a few years ago - and it is still fantastic. The band have other good songs but that one stood out again as it did before - and it was likely the best song of the night overall thanks to its great soloing, hooky riff, and powerful chorus. Gorilla Riot do something a bit different to most young UK bands - and seeing them for a second time was certainly a welcome experience.

The changeover between Gorilla Riot and Jayler seemed to take longer than it should, with the crew seemingly forgetting to check a few things until right until the last minute - but when the lights went down and the band took to the stage the atmosphere levels rose, and the band largely impressed with a well over 90 minute set. Much of the set I was not familiar with, but a few songs from the old EP were played - with most of the songs played likely to be on the upcoming debut album. The sound issues which plagued the support acts were largely absent by this point, although the few times that Ricky Hodgkiss (bass guitar/keyboards/vocals) played the keyboards they were comically high in the mix, and the band sounded loud and proud. Given that I am fairly new to Jayler - I certainly like them, and seeing them live they certainly have a great stage presence and plenty of confidence. When it comes to songwriting, though, I thought that some of the new songs sounded great whereas others were a little more generic sounding. The comparisons to Led Zeppelin, both in sound and in image, cannot be avoided - and at times I do feel that the band lean into this vibe a bit too hard. Bartholomew is a great singer with a powerful voice, but he copies Robert Plant's mannerisms and poses at times - and to stand on their own two feet the band really should try and limit the comparisons. I think that many bands who try and 'do the Zeppelin thing' often forget that hard rock and the odd wistful ballad were just two strings to Led Zeppelin's bow - and there was none of the true diversity present which made Led Zeppelin such a phenomenon. That being said, there were certainly some very strong tracks on display. The aforementioned Riverboat Queen was an early highlight - as were Acid Rain and No Woman, which both came from the EP. I did not catch the names of all of the new songs, but one that I thought stood out quite a bit was The Getaway - whilst a heavier number later in the set called, I think, The Rinsk was the band's jamming number. The song was stretched out to allow for a few snippets of other artists' songs to be thrown in - and Bartholomew ended the song soloing in the crowd. This followed Tyler Arrowsmith (guitar/vocals) also soloing in the crowd earlier in the show - so it was clear that the band were going all-out to put on a display at their biggest headline show to date. Despite my reservations around the band's image and overall vibe, there was plenty to enjoy during the night and it is clear that Jayler are a very talented band. I did feel that a handful of the new songs which came towards the end of the set were less memorable - but this is sometimes the problem with taking in a headline-length set of material which is mostly unfamiliar. I am looking forward to checking out the album when it drops, though, and it may be that some of these other numbers stand out a bit more once they settle in. The final song of the night, Glory, was one of the more memorable cuts, though, with the more cinematic semi-ballad showcasing a bit of a different vibe overall - with a strong chorus that is likely to become a live staple going forward. It acted as an encore which I am surprised came given how late it was getting by this point - and the crowd had thinned out quite a bit by this point. It was a strong ending to an overall enjoyable set, though, and it is clear that there is more to come from the band going forward.

Overall, a decent night was had at KK's Steel Mill. It was great to see Gorilla Riot again, and it reminded me that I need to check them out properly, and Jayler were certainly good - even if, for me, they may be playing it too close to the Led Zeppelin bone to truly be able to shine. I am sure that the band will kick on from here, and I will certainly check out their album when it drops next year. There is clearly some weight behind them, as I will be seeing them at least twice next year in arenas opening for big bands, so there is clearly a belief there that Jayler will be one of the next big things in the UK rock scene.

Treat's 'The Wild Card' - Album Review

Whilst a couple of final gig reviews will follow in due course, as I am away in Wolverhampton this weekend catching my last two gigs of the year, today's piece is the final album review of 2025. As I will cover when I round up the year as the month comes to a close, 2025 has been another excellent year. It will be hard to put together my Albums of the Year list as always - with the sheer amount of new music I have enjoyed this year being as vast as ever, and I know that there is an awful lot more that I am yet to discover. I will collect a few stragglers together as always before presenting my final list, so expect five mini reviews to follow, but this is the year's last in-depth review. I know that there are a few likely very strong January releases on the cards, so it will not be long before I am at it again, but a break over Christmas will be welcome - before I fire the keyboard back up again to talk about a lot more excellent new music. We head over to Sweden for this final review, then, and to catch up with the five-piece Treat - a band that formed in the early 1980s and have periodically released new albums since reuniting in 2006. Treat's sound has somewhat evolved over the years - with frontman Robert Ernlund and guitarist Anders Wikström both still with the band from the beginning (although Ernlund did not feature on the band's 1992 self-titled release - their last album before breaking up the following year). Both drummer Jamie Borger and keyboard player Patrick Appelgren have been with the band since the 1980s, too, meaning that much of the current line-up has been in situ for a long time at this point. Sound-wise, Treat have gone through a few different guises. Their first handful of albums, which featured a second guitarist in place of Appelgren, showcased more of a hard rock sound which was somewhat in-keeping with the glam/hair metal bands of the time - albeit less sleazy. Appelgren's arrival saw the band then morph into something more smooth and melodic - with their late 1980s albums sharing similarities with bands like Bon Jovi and fellow Swedes Europe. This sound has largely continued on since the band reunited, although some of the more recent albums have exhibited a somewhat tougher overall sound - with a bluesier guitar presence despite a more melodic hard rock sound retained. There have always been AOR touches, then, but Treat have generally kept things the more harder rock side of that melodic rock line. That perhaps changes on the band's latest album The Wild Card, though, which came out last month. It is the band's first album since 2022's The Endgame (which I reviewed here) and their tenth overall - which means that the band have now released as many as albums since reuniting as they did during their original run. The Wild Card features the same line-up as the previous album, with bassist Nalle Påhlsson once again joining the four long-standing members. Whilst I have not heard all of the band's albums, I have reviewed most of their reunion-era releases and have heard some of their early work. Based on this knowledge, The Wild Card is likely the band's most AOR-centric release to date. On previous albums there was always more of a focus on bigger guitar sounds and harder rock grooves - but on this album the pop hooks have been allowed to really dominate. Ernlund shines as a result, with the focus on vocal melodies pushing his voice to the fore, whilst Appelgren's keyboards also feel much bigger - despite Wikström still being the main songwriter here.

The Wild Card is very much a feel-good, summery album, then, which has certainly been welcome given all the rain in my part of the world of late - and it is one of those anytime albums due to its light-hearted feel and uplifting songs. The first three songs here are some of the best the album has to offer, with Out with a Bang kicking things off. Synths fade into view, setting an 1980s atmosphere from the off, before a big drum barrage from Borger kicks in - and a big guitar riff takes over. The juddering riff is very John Sykes-esque, whilst the synths double it to give the song a smoother boost. Those fearing the guitars would feel weak given my descriptions of the album's sound so far should not fear anything, as Wikström's riffing is still powerful. It is just that the keyboards feel bigger and brighter - and there is also a noticeable difference to how vocal harmonies are handled. The vocal harmonies throughout are much more sugary than usual - with a strong Def Leppard vibe. This is clear during the mid-paced chorus here, which sees Ernlund joined by layers of sweet harmonies - which again roots the song in the 1980s. The hooks really soar, though, and a busy guitar solo later, again, shows that there remains plenty of power here from a guitar perspective. Rodeo is similar, with some staccato drumming early on sitting around a snappy guitar riff - and once the song gets going proper, this propelling riff is augmented by a strong bassline and some symphonic keyboards. A snappy verse soon takes over, with a simplified version of the main guitar riff backing Ernlund's strong vocals - whilst the bass still does a lot of the heavy lifting. The synths are perhaps less bright here, but there remains a synthy halo around everything - and they ramp back up during a chorus which sounds simple at first before one of the album's best individual hooks expands around a couple of vocal lines. The chorus is very poppy, but the snappy melodies and strong harmonies make it irresistible for any AOR lover - contrasting nicely with the somewhat tougher guitar riffing and soloing elsewhere. Lead single 1985 really sums up the core sound of this album. It is a true melodic rocker and an AOR anthem - opening with a brief version of a chorus which later explodes with huge hooks and sugary synths, whilst another Sykes-esque riff leads the charge early on. Every part of this song screams hit, with a strong groove in the verses sometimes taking the song in a slightly different, but hookier, direction than may be expected - whilst the aforementioned is easily the album's best. It easily sticks in the brain from the off, with the Def Leppard harmonies pouring out the speakers, whilst a later instrumental section starts with a flashy synth solo from Appelgren before Wikström takes over a lengthy neo-classical guitar solo. When it comes to pure AOR, there have been few better anthems such as this one released this year. Endeavour slows things down somewhat following the opening three anthems, with a synth and piano intro setting a slow-burning tone - before a gentle guitar rhythm is added and Ernlund starts to sing. At first it sees as if the song might be a ballad, or at least a piece of pure pop, but it does grow in stature somewhat - with a softer rock sound achieved by the time the chorus is reached. Synth stabs to offset the vocals, more restrained vocal harmonies, and Neal Schon-esque lyrical guitar leads given this song some character - and overall it has a more cinematic feel which aided by the hooky but understated chorus.

Hand on Heart goes for a heavier feel, more akin to the sound the band have channelled on their other recent albums. A snappy guitar riff flies into view, and Wikström's tougher playing is ever-present throughout the track - his headbanging riff essentially driving everything. The keyboards feel a bit more old-school, too, with some synthy Hammond organ offsetting the riff - whilst some later synth leads feel a bit more 1970s in tone. This is not metal, though, as the band's core melodic rock vibe remains. This particularly pops during the chorus, which is another hooky one with plenty of harmonies, whilst pulsing bass playing and some shimmering piano later feel more rooted in the album's core sound. Heaven's Waiting immediately returns to the 1980s with a sparkling opening synth/piano melody - and Appelgren's playing soon forms the backing for Ernlund's smoother, more low key vocals. It is another song which feels like it is going to be a ballad, but like Endeavour it does ramp up somewhat - and it becomes a poppy mid-paced rocker with a bit more of an atmosphere. Some of the very synth-heavy sections remind me somewhat of Reckless Love's more recent releases - with the chorus here quite similar to the style on that band's last album. There is much less of a strong guitar sound this time, then, although some tougher rhythms do cut through occasionally - and a shredded solo is later thrown in, too. Back to the Future is more upbeat, with a driving rock beat early on over which Wikström adds some soaring guitar leads. Pulsing synths and an ever-present bassline help to keep the song moving - particularly during the verses which strip the guitars away somewhat. Occasional chords chug away in the background, and a riff does join in later, but generally the synths do the heavy lifting here - until the chorus when a bigger guitar pattern adds some weight as Ernlund lays down some more hooky melodies. Mad Honey then goes for a bit of a different sound, with some strings laying down a melody early on - before Wikström kicks in with a slab-like riff. This is another of the album's heavier pieces - again recalling some of the songs on the previous albums. The main riff here is very hooky despite its heavier feel, and it often surfaces throughout the track to give things a bit of a kick - plus the strings add a grandness. The synths are generally much more retro in tone, too, despite a few flashier moments, with the chorus having a strong modern Europe feel thanks to the mix of tougher riffing, the occasional synth lead, and the aforementioned strings. Wikström's guitar solo is much more cinematic, too, utilising slow-burning bluesy motifs around the strings to create something much more epic in scope. There are still plenty of hooks and vocal harmonies, but the heavier sound is welcome given the focus elsewhere on AOR anthems. Adam & Evil returns to the album's core sound, although some of the keyboard melodies early on are a bit more old-school in nature. Retro organ sounds are utilised on and off throughout the song - meaning that the flashier synths are less prevalent, despite keyboards overall still seeming to dominate. The verses have a bit more of a percussive sound to them, too, which helps the song to stand out. Borger's verse drumming is quite tom-heavy and somewhat busy, which gives the track a real energy, with these verses contrasting nicely with the smoother chorus which returns to something more overtly melodic.

Your Majesty opens with some chiming acoustic guitar and synth melodies, with the track slowing the pace down quite considerably compared to the last couple of songs. The overall sound this time is much more organic than most of the album - although there remain plenty of pretty sugary vocal harmonies here, which do clash a bit with the acoustic guitar depth during the chorus. Ballad-like, the song largely moves as a slower pace, with the acoustic guitars and mix of synths and organ largely the main focus - even if the rhythm section later adds a sombre groove. Occasional bluesy guitar lines and slide motifs take the spotlight away from the acoustic guitar depth - whilst a later solo section builds on some of these bluesy vibes. Night Brigade starts to ramp things back up again following the more organic and slower-paced previous track - opening with a hypnotic guitar melody which remains in place during much of the song. Whilst the band grow around this melody, the verses are grounded by it - and even the later chorus feels influenced by it, despite Wikström opting for some choppier rhythms instead. The drive of the drums and the more modern propulsion of the bass makes the song feel different from much of the rest of the album - whilst the synths feel a lot more restrained, too. They feel a bit bigger during the chorus, but the verses are quite spacious without Appelgren's big presence - and the change of tone somewhat allows some additional variety to permeate through the album. In the Blink of an Eye gets back to something more typical of the album's core sound - with a hooky, mid-paced guitar riff kicking things off and the synths coming back in a big way. Chiming keyboard melodies fill another smooth, mid-paced chorus, whilst plenty more vocal harmonies are also deployed, whilst the aforementioned guitar riff shines throughout the slightly tougher verses. The song does not really do anything especially different in the context of the album, but it is another song with strong hooks that do lodge in the brain after a few listens. It is certainly overshadowed by some of the other more anthemic pieces, though, despite some fast-paced shredded from Wikström in the later parts of the song. The album then comes to a close with One Minute to Breathe, another very memorable anthem which returns to the quality with which the album opened. In truth, most of what is heard here is strong, and the album does not outstay its welcome despite having 13 songs, but the first three are likely the best - and the closing statement is of a similar quality with its massive chorus refrain and the slab-like riffing which drives it. There are shades of more modern melodic rock acts like H.E.A.T throughout this one - with the synth and vocal arrangements reminding me quite a bit of that band, whilst Treat's trademark smoothness, at least on this album, still permeates despite this comparison. There is a lot to like here, then, with a good mix of guitar riffing and synth melodies - plus a final Wikström solo which is busy and full of energy. Overall, then, The Wild Card is a very enjoyable album from Treat - and I like the way that the band have just gone all out for hooks this time. The moments of heaviness are welcome, but this album is immediately more memorable than some of the band's other recent albums, which were all good, due to this focus on big vocal hooks and synth arrangements. It is a pure AOR-fest as a result - so lovers of good 1980s melodic rock will find something to love here.

The album was released on 21st November 2025 via Frontier Records. Below is the band's promotional video for 1985.