Sabaton's 'Legends' - Album Review

I think that it is fair to say that I am currently going through a big power metal phase. I recently enjoyed gigs from Sonata Arctica, Helloween, and Battle Beast - whilst Helloween's latest album Giants & Monsters (which I reviewed here) is likely to feature in my Albums of the Year list in due course. I have also started to delve into the catalogues of power metal bands that I had previously ignored, such as Elvenking and Bloodbound, and it has been great to reintegrate myself with the genre - whilst studiously avoiding the gimmicky and rote bands that somewhat drove me away in the first place. Whilst Helloween may be the most prestigious power metal band in the world - I think that it is fair to say that Sweden's Sabaton are currently the most popular. I first came across the band properly when I saw them on tour with DragonForce back in 2009 - but I did not start paying attention until a few years later when 2012's Carolus Rex was out. I saw the band in Wolverhampton on that tour and have been a big fan ever since. As such, I have seen them live a few more times since, ranging from the tiny Hub in Plymouth to the prestigious Wembley Arena in London, and have gone through many phases where I listened to their albums regularly. Over the past couple of years, though, I have barely given the band a thought. My general move away from power metal to an extent likely fuelled this in part, but I also felt that 2022's The War to End All Wars (which I reviewed here) was one of their weakest albums - and likely their weakest aside from 2007's Metalizer, which was actually recorded in 2002 before they truly got going. Sabaton certainly have a core sound, which over the years they have stuck to pretty rigidly, and The War to End All Wars, to me anyway, just felt like a rehashing of what had come before. There remain some strong songs on the album, but overall it fell flat for me. Releasing two albums in a row about World War I, following 2019's The Great War (which I reviewed here), likely did not help, either, as The War to End All Wars just felt like a poor man's version of the previous album. There are metal fans who are less kind to Sabaton, and consider that most of their more recent albums are poor - but I never took that view. With the exception of The War to End All Wars, the band's other more recent albums are some of my most-played in their catalogue - and I do like the Sabaton core sound even if they perhaps do stick too rigidly to a core formula at times and are prone to moments of self-plagiarism. I saw the band in London in 2023, too, and it fell over a weekend which was straddled by some trouble close to home - so I certainly did not enjoy it as much as I would have otherwise done. As such, since that show, I have not listened to Sabaton much at all - but when their eleventh album Legends dropped last month I was ready to jump back on board the Sabaton train. The album coming out during my general reappreciation of power metal helped, but Sabaton generally remained a favourite even when I was less interested in the genre - and, despite an unsure first listen, Legends has already surpassed The War to End All Wars and sits nicely with the few albums that preceded it. A varying, loose theme of songs around 'legendary' military figures helps the band to move away from World War I - and, as such, there is more variety here. It helps, too, that Legends just feels a bit heavier overall. The synths and big choruses are still here, of course, but the guitars feel a little meaner this time around - and there is quite a bit of energy throughout, which keeps me coming back. It is also the band's first album since 2016's The Last Stand (which I reviewed here) to feature guitarist Thobbe Englund as a full-time band member - who returned to the band last year following Tommy Johansson's departure.

The rest of the line-up has now been in place since 2013 - meaning that there has been a fair bit of stability since the big split of 2012 which saw much of the original line-up leave. This stability has further helped to solidify the Sabaton core sound - which is very much on show during opening cut Templars. Opening with dramatic choral vocals, it is not long before a mid-paced drum groove and guitar riff kick in - with the heavy, mid-paced track creating a hypnotic feel from the off. The riffing feels chunky, harking back to Sabaton's heavier moments, whilst parts of the verses feel a bit more stripped back to allow Pär Sundström's bass playing to dominate - whilst the synths provide a cold depth and some counter-melodies, particularly during the Accept-like, rhythmic chorus. Frontman Joakim Brodén sounds as good as ever here. His verses vocals feel smooth, the storytelling lyrics as evoking as ever, whilst the chorus, backed by the aforementioned choir, feels punchy - with subtle gang vocals and some big drum hits creating a powerful, fists-in-the-air vibe. Chris Rörland's later guitar solo is full of melody, too, as he pulls back from the band's usual shredded approach to instead deliver something fluid to fit the song's tone. Upping the pace, Hordes of Khan showcases the slightly thrashy edge which Sabaton occasionally employ. Clearly Sabaton have never been a thrash band, but their guitar tones and relentless double bass drumming at times can create an edge - and this is one of those fast-paced power metal anthems which has such. The main riff is heavy, although a guitar lead is placed over the top to create some melody - whilst the verses again sometimes see the riffing drop away to leave Brodén alone against a bass and drum backing. Even these parts of the verse still feel urgent, though, as the pace never lets up - and when the guitars kick back in the song only feels more powerful. The chorus builds on such, and the pace means that it is one of the hookiest and most hard-driving here. It is up there with Sabaton choruses of the past - and the pace is sure to make the song a winner live. Both guitarists get a chance to solo here, too, and the dual shredded approach has been key to Sabaton's sound over the years. Going for a more dramatic and theatrical sound, A Tiger Among Dragons immediately goes for something a bit more expansive. Drummer Hannes Van Dahl lays down a slow-burning and percussive drum groove to open things up - over which occasional guitar and synth stabs create some early drama. These interjections are the only heaviness early on, though, as the song is a slow-burner - with Brodén singing over this groove and an added bassline as the first verse gets going. The song slowly builds, cinematically, towards its chorus, which utilises the stabs from the opening to create a bombastic and powerful moment with plenty more gang vocals and and some symphonic touches. It is another chorus which is very easy to sing along with, meaning that the track will likely be another live favourite, whilst elsewhere there is some more variety thanks to a faster riff which kicks in later to create a potent bridge section - alongside another busy guitar solo. Ensuring that a more dramatic sound is kept up with, Crossing the Rubicon returns to a more mid-paced sound, similar to how the album opened, but the bombast of the previous song is retained - with more big synths and an infectious mid-paced groove. Sabaton have always done these mid-paced songs well, and Van Dahl's drumming often adds an edge. He rarely just lays down a basic beat, with his subtle twists allowing the band's songs to have a subtle groove. This is the case here, with even the fist-pumping chorus feeling a little different from the norm due to some shuffling hi-hat work. As is typical of Sabaton's core sound, the verses are a bit more stripped back, but guitar leads are used to keep the interest up - and the chorus explodes from this base with symphonic synths and Brodén's gritty vocals. The final chorus sees a classic 1980s key change employed - a welcome trick

Returning more to a more typical mid-paced sound, with less of the bombast of the previous track, I, Emperor is much weightier thanks to a stronger guitar presence and less synths overall. The synths are still there, adding a bed to the smoother verses, but generally this feels like a much riffier song - with a big riff opening things up and subtle guitar melodies throughout the verses. There is plenty of crunch here as a result, then, and the influence that bands like Accept had on Sabaton can be heard throughout the stomping grooves of the chorus and the gruffer vocal performance that Brodén adopts here. The chorus is another hooky one, but it is not one that stood out immediately. It is a chorus that does feel a little clunky melody-wise at times, but over repeated listens it has stuck - and the weighty song has gone up in my estimations as a result. Maid of Steel ups the pace again, with the track returning to that thrash-adjacent sound that Sabaton do well at times. Keeping up the heaviness of the previous track, too, the synths are once again largely relegated to a supporting role. They make their presence felt during the hooky chorus, adding some colour, but the song's main intro and verses are just pure guitar power. The fast-paced riffing of Rörland and Englund really helps the song tick, whilst the fast footwork of Van Dahl allows that old-school thrash/speed metal sound to fester. It is fitting, too, that this fast-paced, guitar-heavy song allows both guitarists to shred. The section, which follows more of a mid-paced bridge with chunky riffing and anthemic vocals, is high-octane and fit for a heavy power metal band like Sabaton. Impaler slows the pace down somewhat, going for a hard-hitting, mid-paced sound - with Eastern-tinged guitar melodies which, very briefly, evoke Ritchie Blackmore. Sabaton have done songs with Eastern melodies before, but the main guitar leads here very much showcase that sound - whilst synth swells further fuel this vibe. The bigger use of synths and choral vocals here, particularly during the foot-stomping chorus, make this song feel less tough than the previous two - and the cinematic side of the band is more on show here. The verses feel varied and deep, with piano melodies coming through at times, whilst the sparser arrangement allows the vocals to shine - before choral vocals and the aforementioned guitar melodies fill the somewhat off-kilter chorus. Rörland's guitar solo is another which reins in the pace somewhat to instead deliver something more melodic - which is fitting given the more precise approach to guitar leads utilised elsewhere during the song. Moving on to the next song, Lightning at the Gates, it is time for a moment of negativity. Sabaton often get accused of self-plagiarism, and this is certainly a downside of sticking very rigidly to a core sound, but this is something that many bands are guilty of. As such, I do not point out when a brief passage sounds familiar to something else - but with Lightning at the Gates the similarity of the song to Hearts of Iron cannot be ignored. The two songs are almost identical - from the bombastic melodies during the synth-heavy chorus to the verses which have a strangely emotive quality for Sabaton. I do not like to be negative, especially as I do like this album a lot and it feels like a bit of a return to form following the lacklustre previous effort - but Lightning at the Gates showcases the band's lazy side. They must have realised how similar the two songs are - and Lightning at the Gates should have never made it past demo stage as a result.

Thankfully, this is the only real low point on the album, as The Duelist returns to the higher quality which generally fills the rest of the album. The mid-paced song is another guitar-heavy track - with a hypnotic and hooky main guitar riff which drives the song throughout, sitting in the background of the verses as Brodén's gritty vocals do their thing. Even the chorus, which feels a bit more bombastic thanks to a slight upping of the pace and some stabbing guitar patterns, keeps the synths to a minimum - which allows the song to sound heavier as it otherwise would. I like how the band have utilised such a bit more on this album. The synths add a lot when they are used well, but they can sometimes overpower the guitars. The decision to pull back on the synths a little here ensures that the album feels a bit heavier - and The Duelist is a song which very much benefits from that approach, with some of the snappiest and ever-present riffing on the album. The Cycle of Songs is another more cinematic and bombastic piece - and it was put together by Brodén and Jonas Kjellgren (Dellamorte; Carnal Forge; Centinex; Scar Symmetry; Ironmaster; Nekrodawn), who has worked behind the scenes with Sabaton in an engineering and mixing capacity for years at this point. Kjellgren also plays the song's guitar solo - but despite the outside help here the song is very much classic Sabaton. It is similar to I, Emperor in pace and groove - but the overall feel is much grander thanks to a big synth presence and a symphonic edge. The chorus explodes thanks to the pulsing synths and the massive choral vocals used throughout - whilst clean guitar melodies during the verses, alongside an ever-present synth bed, also help the song to feel a little different. The riffing and overall bombast is very typical of Sabaton, though, and the chorus immediately feels familiar thanks to the band's trademark rhythmic approach. Kjellgren's solo is perhaps a little different from the norm, though, his prog metal background on show during a melodic passage which is suitably cinematic. Sabaton do this bigger sound well, and The Cycle of Songs is the latest mini-epic to showcase it. The album then comes to a close with a upbeat Till Seger - which is sung in Swedish. Sabaton have done songs in Swedish before, but the musical hooks here ensure that even non-Swedish speakers can get into it. The chorus is one of the most upbeat and feel-good moments on the album. There is a real bounce to the chorus, with synths and a hooky guitar lead backing Brodén's gruff vocals - whilst Englund's guitar solo has a slight folky edge to some of the melodies to fit in nicely with the overall melodic nature of the song. There are some folky synth melodies which follow the solo, too, and the song cannot help but raise the mood as the album comes to a close. It is also notable as it is the first 'proper' song which Van Dahl is credited with co-writing. He co-wrote a slightly jokey bonus track in the past - but this song shows his creative side as a member of the band, with his up-tempo grooves a big part of why the driving song ends the album on a folky and bouncy high. Legends does not really do anything different for Sabaton's core sound, but some strong songwriting and a slightly heavier overall approach make the album an engaging listen. I hoped that they would come back strong from the weaker previous effort - and they have done so quite significantly. It is an album which is up there with The Last Stand as a very enjoyable and moreish recent Sabaton effort - with a number of songs which are destined for the stage. Sometimes that is enough, and I am pleased to be back on the Sabaton train with this album.

The album was released on 17th October 2025 via Better Noise Music. Below is the band's promotional video for Hordes of Khan.

Saxon - Bristol Review

After a couple of relatively slower weeks, which still included a couple of local shows and a trip to London, things are starting to pick up again from a gigging perspective. Last night in Bristol and a local show next weekend kickstart this next glut, but the following two long weekend periods contain three gigs each - with trips to Cardiff, Nottingham, and Bristol coming up, as well as another local night out. In fairness, with the exception of a trip to Wolverhampton just before Christmas, these two very busy weekends will essentially see 2025 come to a close as a gigging year - and, up to now, it has been another excellent one. Whilst I have ticket yet more bands off the list throughout the year, and have seen some spectacles, last night in Bristol I went to see an old faithful. Whilst there are some bands that I am happy to see once, or perhaps every few years, some bands I will try and catch on every tour. The NWOBHM band Saxon are one such act, and over the years I have seen them live quite a few times. I first saw them live in Falmouth back in 2011 - and since then I have seen them many more times all over the UK. Despite seeing the band regularly over the years, my last Saxon headline show came back in 2022 when I saw them at the excellent De Montfort Hall in Leicester. I did see the band last year, too, opening for Judas Priest - but the set was shorter than typical for Saxon - so when this latest headline tour was announced I picked up a ticket straight away. Bristol made the most sense given its proximity to home - and the refurbished Beacon is a great place to see bands live. Like the De Montfort Hall, too, it is one of those classic theatre-like venues that bands have been playing for years. Nearly every hard rock and metal tour in the 1970s and 1980s hit the Colston Hall as it was then and, unlike many of its contemporaries like the De Montfort Hall, it seems to remain a popular choice - especially since it reopened following a lengthy refurbishment. I hope the trend continues, as it has become a favourite venue of mine over the past year or so - and when classic acts like Saxon roll through it turns the clock back to the height of the NWOBHM movement when massive UK tours were the norm. This was especially the case last night, as Saxon's current UK tour is celebrating the 45th anniversary of their second, and most famous, album Wheels of Steel - one of two albums the band released in 1980. Considering how seminal Wheels of Steel is, many of its songs had not been featured in the band's setlists for years until this tour. Looking back at the Saxon shows I have been to, only the title track and 747 (Strangers in the Night) were played at every show - with Motorcycle Man also a regular inclusion. That meant that the other six songs from the nine-track album were new to me live. This is likely because Saxon have always been great at heavily featuring their latest album in their setlists, alongside shaking things up generally apart from a handful of staples. Even the big 40th anniversary show I saw in London, also in 2022, only featured the same three cuts despite the setlist largely focusing on 1980s classics. This current tour similarly focused on classics - a rarity for the band. With only three recent cuts in the setlists, this was very much a set for the old-school fan - so it should not have surprised anyone that the Beacon was packed out throughout with a loud crowd who were ready to relive their NWOBHM-era youth.

Wheels of Steel was not the only classic album that the crowd would hear in full, though, as opening the show was former Accept frontman Udo Dirkschneider and his band - who are currently celebrating the 40th anniversary of Accept's legendary fifth album Balls to the Wall. The fact that Balls to the Wall was actually released in 1983, making 2025 its 42nd anniversary should probably be overlooked - as getting an opportunity to hear such a statement album live in full is not something that comes around every day. With no backdrop or any kind of pomp, when the lights went down Dee Dammers (guitar/vocals) took to the stage - immediately launching into the mid-paced groovy riff of the album's title track. It must feel strange for Udo to open a show with a song which is generally reserved for the end - but the crowd was onside from the off as a result. With classic era Accept bassist Peter Baltes in tow, too, the presentation of the full album felt authentic - whilst the younger Dammers, Alen Brentini (guitar/vocals), and Udo's son Sven Dirkschneider (drums/vocals) formed a tight band around the two elder statesmen. Afforded around an hour, Udo and his band had plenty of time to play with - and their set included the full Balls to the Wall album alongside one other Accept favourite. The sound was pretty good from the off, even if Udo himself was a little low in the mix at times - but it was clear that his voice remains strong. His trademark rasp and occasional higher-pitched utterances sounded as good as ever - whilst the many excellent riffs of the album were served up nicely by Dammers and Brentini. Baltes' bass playing and songwriting was always key to Accept's success - and the opening of the grooving London Leatherboys showcased why. As was the case during the opening number, the second song's chorus was packed full of gang vocals from the band - which the crowd also helped out with. There were clearly plenty in attendance familiar with the album - and there was a strong atmosphere throughout Udo's set as a result. As is the case with Wheels of Steel, too, many of the songs on Balls to the Wall have not been regularly played live. As such, it was fun hearing more faster-paced tracks like Fight It Back - whilst Udo called Losing More Than You've Ever Had one of his favourites from the album. He seemed to be having a great time up on stage with his band - even acting as a support on this tour. Accept were never the biggest band here in the UK, hence their and Udo's limited trips here in recent years, but it was clear in the room that there was plenty of love for the music. Perhaps Udo will be persuaded to bring his solo band back for a tour of the UK in the not too distant future - and hearing anthems such as Turn Me On and the snappy Losers and Winners is always going to get the die-hards out for the evening. The format showcased that Accept's sound was always more diverse than perhaps it is often seen as being. The album's closing track Winter Dreams is a fairly delicate ballad which differed from the rollocking riffing found elsewhere - and it acted as a powerful penultimate number, with Udo delivering an emotive vocal and Dammers slowing down his usually speedy soloing style. The rest of the band, save for Sven, then briefly stepped off the stage - and the drummer led the crowd through a rendition of a familiar folk number, which of course led into the set's finale Fast as a Shark. There was plenty more singing from the crowd during this number - and around an hour on stage came to an end in a powerful manner. The setlist was (N.B. all of the songs below are Accept songs):

Balls to the Wall

London Leatherboys

Fight It Back

Head Over Heels

Losing More Than You've Ever Had

Love Child

Turn Me On

Losers and Winners

Guardian of the Night

Winter Dreams

Fast as a Shark

Around half an hour later, the lights went down again and the curtain which had been covering the stage dropped to reveal Saxon - who launched into the muscular Hell, Fire and Damnation right away. I have never been disappointed by Saxon live, and yesterday's show was no different. From the off, the band sounded powerful and as fired up as ever. Frontman Biff Byford was a little low in the mix early on, but this changed as the set progressed. Given his on-going cancer battle, he looked and sounded as good as ever. His voice retains the power of his youth, albeit with more grit now - whilst the rest of the band were as tight and high-octane as ever. I am not sure that I will ever quite get used to see Brian Tatler (guitar) on stage with Saxon, but he has formed a great guitar duo with fellow guitarist Doug Scarratt over the past couple of years - and the classic Saxon guitar sound remains very much intact with Tatler. The main set was split into two, with the first half containing a few newer songs alongside some classics - with Wheels of Steel following. Early on, then, the crowd were treated to plenty of big favourites. There were not too many surprises here - with anthems like Power and the Glory and Never Surrender sitting nicely alongside the thrashy newer number Sacrifice and the still brand-new Madame Guillotine, a creeping number led by Nibbs Carter (bass guitar/vocals). Perhaps the only slight curveball early on was the inclusion of Backs to the Wall from the band's 1979 debut album - largely in tribute to the band's first big tour with Motörhead which brought them to many cities, including Bristol, for the first time. Saxon crowds never let newer numbers dampen their enthusiasm, either, which is great. Sacrifice has been regularly played over the years, so was greeted like an old friend, but even Madame Guillotine kept the energy levels high - despite its creeping, classic rock-esque strut. Anyone needed a kick, though, would soon receive one in the form of Heavy Metal Thunder, which saw headbanging all around the venue - before the first part of the set came to a close with the somewhat more epic Dallas 1pm. Saxon often excel at mini-epics like this, with the song's subject matter and subtle bluesy vibes keeping a groove going. There was no break between the two halves of the set, but Byford spoke to the crowd briefly about the importance of Wheels of Steel - before the sound of motorcycles heralded the speedy Motorcycle Man. The first half of the set had been powerful, but Wheels of Steel in full took things to the never level. Many of the deeper cuts really shone, such as the boogie blues of Stand Up and Be Counted, but it was the evergreen classics 747 (Strangers in the Night) and the title track which got the crowd going the most - with both featuring sing-a-longs conducted by Byford. There was a danger that side two of the album could see the energy levels dropping, but that did not happen. A huge drum barrage from Nigel Glockler introduced the snappy and short Freeway Mad, whilst See the Light Shining felt like the precursor to those mini-epics I was talking about - which later albums would expand on. Byford rarely stopped to speak to the crowd during this portion of the night - but he did introduce a few songs in case anyone was not already familiar with the album. This seemed unnecessary, though, as everyone seemed onboard - with even the smoother Suzie Hold On not seeing a drop in energy levels, despite the song very much being the odd one out on the album. The raucous speed metal of Machine Gun saw the main set come to a fast-paced close, though, and the Bristol crowd could be heard chanting the band's name as they left the stage. A four-song encore followed, with four more classics making an appearance. Denim and Leather and the ode to Donington And the Bands Played On were both lapped up by the crowd, before some pulsing bass injected more bluesiness into the set via Strong Arm of the Law. The evening then came to a close with Princess of the Night, which kicked up the energy levels one last time - with the set overall being another triumph. The setlist was:

The Prophecy

Hell, Fire and Damnation

Power and the Glory

Sacrifice

Backs to the Wall

Never Surrender

Madame Guillotine

Heavy Metal Thunder

Dallas 1pm

Motorcycle Man

Stand Up and Be Counted

747 (Strangers in the Night)
Wheels of Steel

Freeway Mad

See the Light Shining

Street Fighting Gang

Suzie Hold On

Machine Gun

-

Denim and Leather

And the Bands Played On

Strong Arm of the Law

Princess of the Night

As I said earlier in this piece, Saxon never disappoint live. Whether playing a shorter set opening for a bigger band, supporting a new album with a setlist that reflects newer material, or playing tribute to a classic album from their past, the band always seem to get the memo. Their power never seems to waver, and they do not seem to be slowing up either. A new album is being worked on, which is likely due out next year, so that means that there is likely another Saxon tour due at some point in the near future - and I will certainly be there to witness what will be Saxon show number 10 for me.

Hollow Souls' 'Hollow Souls' - EP Review

It always feels strange to review an EP on this blog - as the format just does not seem to be that popular anymore. I likely only cover four or five EPs each year - but in this era of streaming and drip-feeding the public new singles on a more regular basis, perhaps the shortform album format serves little purpose in 2025. It is a shame, really, as I have always enjoyed a good EP. A well-structured EP can be just as important to a band's catalogue as a full-length album - and some bands, such as Queensrÿche and Helloween, got their careers underway with genre-defining EPs. The EP that I am covering today is unlikely to make as much of a mark as either of those self-titled efforts did back in the 1980s - but the debut self-titled six-track EP from new blues rock act Hollow Souls is certainly an extremely enjoyable release. Hollow Souls is the latest project from Torquay-based singer, guitarist, and songwriter Kris Barras - who has been making a name for himself as part of his self-titled band since dropping his debut album Lucky 13 back in 2016. Starting out as a blues rock artist, Barras' sound has become heavier and more modern in tone in recent years. His first three albums largely stuck to a bluesy hard rock feel - but both 2022's Death Valley Paradise (which I reviewed here) and 2024's Halo Effect (which I also reviewed here) saw Barras and his slimmed-down band move in a more post-grunge and even an alternative metal direction. There are still hints of the blues here and there, but Barras' recent albums fit more within the current British rock scene - which has become very influenced by the American radio rocks acts of the 2000s and 2010s. Barras has certainly become more popular as a result of this sound shift, and he is now pretty well-known across the UK alongside making some inroads in the rest of Europe, whilst leaving his more bluesy roots behind. Clearly still wanting to dabble in the blues, though, earlier this year he announced that he was forming a new band, Hollow Souls, which would allow him to do so. He wants his solo band to continue down their current road - but he said that Hollow Souls would allow him to return to his first love, as well as showcase some songs he had written which did not suit his current sound. Joining him on this venture are fellow solo band member, songwriter, and producer Josiah Manning, handling guitars and keyboards, alongside frontwoman Phoebe Jane - who contributed to a some of Barras' older albums as a backing singer. This trio are the core of the band - with Barras and Manning writing the songs and Jane singing them. Barras sings occasionally, too, and there are three guest singers featured on the EP - but Jane is, officially at least, the main voice. Backing this core trio is bassist Leighton Allen and drummer Joe Harris throughout - whilst four of the six songs feature guests, with one guitarist and the aforementioned singers lending their talents. I think that Barras also wanted to work with some different people and some other friends from the industry here, too, and it seems to be a project built around having a good time and exploring old sounds. I am writing this review off the back of seeing the band live at the weekend - and the show exemplified this vibe, with a setlist the covered the entire EP, older songs from Barras' canon, and some great blues/R&B covers that allowed the band to have plenty of fun.

This EP certainly is a lot of fun, but if I was to have a criticism of it it would be the overuse of guest singers. Half of the songs have guest singers - and Jane only duets with one of them. Throw in the one song that Barras sings and she only prominently sings two and a half of the songs here - which somewhat undermines her presence. I would have rather Jane dominated the EP vocally, with Barras supporting her - and I hope that if Hollow Souls ever release anything else that she is pushed to the fore a lot more. The opening song Borderline shows why, as the bluesy, southern rock-esque piece demonstrates her soulful power perfectly. American blues guitarist Jared James Nichols adds some additional lead guitar and soloing to the piece, but vocally the song is all Jane. The opening percussive chorus soon gives way to a strutting main guitar riff - over which bluesy guitar leads are laid. Given that both Barras and Nichols cut loose here, guitar leads fill the whole song. There is a lot going on here from a guitar perspective, with each of Jane's vocal lines seemingly punctuated by some flashy guitar playing. The song is packed full of character, then, but the vocals are still able to be hooky - whilst the strut and groove from the rhythm gives the song its attitude. Later renditions of the chorus are much fuller than the foot-stomping opening rendition - but each iteration feels memorable. It is easy to sing along with, and the soulful groove that it conjures up is representative of the core Hollow Souls sound as a whole. Bad Things, which follows, feels a bit tougher - but the same southern-esque strut remains throughout. Chris Tapp (The Cold Stares) handles the vocals during the verses, whilst Jane sings during the intro and the chorus. The duet approach works well in this case, but I still wish that Jane was more prominent throughout the EP. Still, Tapp's deeper vocal approach does work nicely during snappy verses which feel a bit more reined in compared to the previous song. There is a lot less guitar firepower this time, with a slinking guitar line and the groove of the rhythm section largely all that backs Tapp's voice - before the chorus explodes with a wall of Hammond organ and Janes' expressive vocals. The chorus is a good mix of smooth, soulful melodies and anthemic, punchy moments - whilst Barras' later guitar solo is pretty high-octane and full of shredded leads. I Need the Fire is a hard rocking track, but its retro vibe and prominent organ parts mean that it would not easily sit on one of Barras' more recent solo albums. It also the final song here to feature Jane singing lead vocals. She unleashes her power over the top of a barrelling verse which is built around a busy guitar and keyboard unison melody. Grooves are conjured up yet again during these fast-paced verses - whilst the chorus feels a little more cinematic overall despite a faster pace still being maintained. Manning utilises his Hammond a lot throughout this song to add a retro edge and plenty of growl - whilst the guitar riffing from Barras is old-school and groovy, which extends to another busy guitar solo. I am not sure that there is such a thing as too much Hammond organ, so hearing it so prominently here was always going to please me - and the song is an overall highlight thanks to its pace and power.

Burn It to the Ground features the British blues/roots rock singer Elles Bailey throughout - who also co-wrote the tune. She has a less overtly powerful voice than Jane, but she has a great blues grit to her delivery - which comes out during the chorus in particular. The song feels a bit more down and dirty as a result of her throatier and rawer delivery - with Barras utilising a lot of slide guitar throughout. The guitar and bass tones throughout are pretty fuzzy, too, whilst the keyboards this time feel a bit more gritty and all-enveloping. There is a retro roots rock feel to the piece, then, but Bailey delivers a strong and heartfelt vocal - with the chorus really popping. The verses are a bit more low key and percussive - but once she cuts loose during the chorus and the slide melodies really kick in the song reaches a new level. The heaviest song here is Shotgun, which is not too far removed from the sound that Barras deals in regularly these days. Jon Harvey (Monster Truck) sings throughout, and his tough, gritty vocal suits the riffy and slightly metallic, at times, piece. Despite this heaviness, the production and the groove of the rhythm section does help to set the song apart from Barras' core sound. There is definitely a southern drawl and groove throughout - whilst some growling Hammond during the chorus also ensures that the song moves away from the modern hard rock sound of Barras' recent albums. Jane adds plenty of vocals to the chorus, too, harmonising well with Harvey and adding some counter-melodies at times. The song is a powerful hard rocker, but I really feel that Jane would have done it justice. The EP then comes to a close with the soaring ballad Chasing Ghosts - the only song here that Barras sings. Despite wanting to hear more from Jane throughout this EP, I would not change this song's vocal arrangement. It was made for Barras to sing - and he has since said that it is one of his favourite songs that he has written to date. The poignant ballad is made for his emotive voice - and Barras has always written excellent ballads throughout his career. This one harks back to some of his older ballads - with a sombre piano backing alongside some atmospheric organ constantly adding depth. A mixture of electric and acoustic guitars shake things up, too, but it is Barras' excellent vocal display which really helps the song to be an overall highlight. Jane adds powerful harmonies during the chorus, which are welcome, but this is Barras' showcase - and it is fitting that he also delivers a fantastic guitar solo later on in the piece, following a bridge section that builds around Manning's piano melodies. It is easily the best guitar solo here - and the epic ballad is one of Barras' best to date, so it brings the EP to an emotive and atmospheric close. At this stage it is unclear what the future holds for Hollow Souls. Their debut tour is now done and, one last minute festival slot aside, there are no more public plans for the band. Barras is about to record his next solo album so he will likely be promoting that next year - but a recent social media post suggests that Hollow Souls will be back at some point. I hope that they are able to co-exist with Barras' growing solo career - as the two outlets provide different things. I hope, then, that this strong EP is a taste of what is to come rather than a one-off.

The self-released EP was released on 10th October 2025. Below is the band's promotional video for Borderline.

Hollow Souls - Tavistock Review

It seems to be a rule now that I will see the Torquay-based singer, guitarist, and songwriter Kris Barras live at least once a year. Despite having heard of him beforehand, it was not until 2021 that I was properly exposed to his music - when I saw the Kris Barras Band opening for Black Stone Cherry in Exeter. I pretty much became a fan that night - and since then I have seen him live a further five times, as well as enjoying both of the albums he has dropped since then. He has become a favourite due to his mix of blues and modern hard rock, his strong, often heartfelt songwriting, and his fun lives shows which mix raw hard rock power and his dry sense of humour. Last year was a big one for Barras, as he released his latest album Halo Effect (which I reviewed here) and undertook plenty of touring, both here in the UK and abroad, to promote it. I last saw him live in Exeter last December - and his 2025 has been somewhat quieter, despite a few gigs earlier in the year. Until recently, that is, as last night he finished his latest lengthy UK tour - but it was his first with his new blues rock project Hollow Souls. The Hollow Souls tour was announced earlier in the year - and last month the band released a six-track EP, which I be reviewing here soon. Barras' solo albums have gotten heavier over the years, and he has largely left the blues behind. Hollow Souls, then, is his way of getting back to his roots somewhat whilst allowing his solo career to maintain its current trajectory - as well as to work with different musicians. That being said, though, his right-hand man in Hollow Souls is Josiah Manning (guitar/keyboards/vocals) who is also his right-hand man in his solo band - but the main difference between the Kris Barras Band and Hollow Souls is the inclusion of frontwoman Phoebe Jane. Barras said that he largely wanted to focus on being a guitar player in Hollow Souls - so Jane acts as the project's main singer. Barras still sings occasionally, but this is very much Jane's vehicle from a vocal perspective - even if Barras and Manning are responsible for the songwriting. These three musicians are the core of the Hollow Souls, then, dominating the newly-released EP and they have been the focal points throughout the tour. Whilst Barras has quite a big reputation here in the UK now, I still wondered if booking a 20-date UK tour for a new project with little material of their own was a wise move. In fairness, all of the PR has made sure to note that this is a new project from Barras - but names do not always sell new bands. I would imagine that the band were a bit worried, too, but they need not have been it seems - as since the tour kicked off last month the reviews have been excellent. All over the country it seems that people have been checking out Hollow Souls live and enjoying the EP - and last night the tour came to an end in Tavistock. Barras generally either starts or ends a tour in the South West - with Torquay, Exeter, and Tavistock regular haunts of his. Despite the nasty weather, then, Tavistock's Wharf was packed out last night. A few may have stayed away due to the rain, but the hall was full from the off - which was the case with Barras last played there back in 2023. When I first got to the venue, though, the main hall had not opened - so due to the weather everyone was crammed in the bar area. Usually people sit outside, but given the pouring rain that was not on the cards - and there was a bit of a cheer when the venue's doors opened.

Kicking off the show, though, was blues guitarist Troy Redfern - who supported Hollow Souls throughout their tour. I first came across Redfern back in 2022 when he opened for The Quireboys - and I also saw him twice the following year opening for Dare. I remember enjoying his set with The Quireboys quite a bit - but since then I have never enjoyed him as much. Redfern's style and way of presenting his music has gotten more primal each time I have seen him - and the more primal the blues the less likely I am to like it. The first time I saw him he played with a full band and alternated between more traditional blues guitar playing and slide-heavy resonator guitar playing. The times with Dare he essentially stuck to the latter, and was only joined by a drummer - and this time he took that sound further by being accompanied by a drummer who only had a snare, a floor tom, and one cymbal. I am not sure that Redfern's sound could get any more primal whilst still remaining an electric rock experience. Redfern is a decent singer and a very talented guitar player, especially when using a slide, but I just find the way he chooses to present his music now difficult. I used to be known as someone who did not like the blues, which is no longer the case, but I still struggle with blues that sounds like it could have been recorded in the 1930s or 1940s. That is essentially the sound that Redfern goes for now, albeit a more rocked up version, and it is all just a bit lumped and caveman-esque for me. When you are so limited in terms of a guitar style and drum set-up, too, the songs inevitably all follow a pattern. There are only so many times I can hear a groovy, fuzzy slide lick being played over a floor tom-led beat before everything merges into one - and after a handful of Redfern's songs last night that certainly happened. The large Tavistock crowd warmed to Redfern somewhat, though, and there was a decent atmosphere during his set. Towards the end he managed to get a bit of a sing-a-long going, too. Despite my views on his increasing wish to make his music sound more old-fashioned, Redfern remains a talent - just one likely not for me. He did not outstay his welcome, though, and he warmed the crowd up nicely for what was to come.

When the lights went down later in the evening, some more old-school blues could be heard over the PA - before Manning took to the stage with Paddy Blight (bass guitar/vocals) and Chris Tilke (drums), a different rhythm section to the one that is on the EP. Manning then set the tone with some melodic, bluesy guitar playing - before Barras and Jane took to the stage, kicking off with Borderline from the EP. The bluesy, southern rock piece kicked the set off nicely. Jane's voice was immediately powerful, whilst Barras and Manning harmonised well with her. Despite sometimes taking a backseat in the set, Barras still shone as guitar player. His lengthy, bluesy solos were as good as ever - and Borderline was full of them. Manning likely played more keyboards than guitar overall - but his riffing was tight, too, and when Tilke started the iconic drum intro to Led Zeppelin's Rock and Roll the place went wild and the rollocking anthem was belted out by Jane. Setlist-wise, the show covered a lot of ground. All six of the EP's songs were played, alongside four songs from Barras' canon, and five covers. All but one of the Barras songs played were older cuts from his bluesier days - and I get the impression that the covers were ones that they had all played numerous times before in various bands. Barras had in fact done Rock and Roll at that Tavistock gig in 2023 - but other early covers included a slinky version of the old R&B classic I Don't Need No Doctor, which was surprisingly not rocked up in line with the Humble Pie version, and Jane delivering a soulful take on the blues standard Rock Me Baby - which also included a lengthy Hammond organ solo from Manning. Whilst the covers were a lot of fun, though, it was the original material which propelled the set. The six songs from the EP are all excellent, and vary from blues to hard rock. Songs like Shotgun, which Barras sang, are not too far away from Barras' current sound - but the duet Bad Things felt more soulful, despite a strong southern rock feel at times. Barras and the band proved that the blues could still rock pretty hard, and there were plenty of big riffs and shredded solos throughout, but there were also more reflective moments, too. One such moment was the smooth Tearing Me Apart from Barras' first solo album - which Jane actually sung originally. It felt right for the song to be pulled from the vaults, then, and Jane sang the bluesy ballad with ease whilst Barras added delicate melodies. She also took to the lead on Propane, another oldie, and turned it into more of an R&B-esque tune. The slightly changed arrangement worked well - and it transitioned nicely into the blues standard Stormy Monday which contained a sultry vocal and smouldering power. Sadly, though, the quieter moments of the song were ruined by some extremely loud people shouting some really quite obnoxious things at each other (they were not even arguing, just discussing extremely personal stuff that others did not need to hear extremely loudly) - which even the band seemed to notice. Thankfully they seemed to calm down after a while - but those around me felt a bit on edge for a while. The next couple songs were louder, though, with the soulful blues of Burn It to the Ground and the anthemic I Need the Fire again bringing the best out of Jane. The EP's last track, Chasing Ghosts, was also a highlight - with Barras singing the soaring ballad against a backing of electric piano, before delivering another big solo. There was not too much time left by this point, but a swampy blues take on Barras' My Parade conjured up quite a big sing-a-long, before the main set came to an end with Hail Mary - with Manning adding organ to it as he once did. There was time for one more, though, and the band came back out, with Redfern in tow, to deliver a jammed version of the blues standard Going Down, with Barras and Redfern trading guitar solos. It was a powerful end to a great set - and the crowd certainly made their feelings felt as the band left the stage. The setlist was:

Borderline

Rock and Roll [Led Zeppelin cover]

Bad Things

I Don't Need No Doctor [Ray Charles cover]

Tearing Me Apart [Kris Barras solo material]

Rock Me Baby [B.B. King cover]

Shotgun

Propane [Kris Barras solo material]

Stormy Monday [T-Bone Walker cover]

Burn It to the Ground
I Need the Fire

Chasing Ghosts

My Parade [Kris Barras solo material]

Hail Mary [Kris Barras solo material]

-

Going Down [Moloch cover w/ Troy Redfern]

It is unclear at this stage whether Hollow Souls intends to be a going concern or not. Barras said that he will be recording his next solo album in December - and he will also be on the road early next year opening for Smith/Kotzen. I would imagine headline shows to follow once the new album drops, too. Hollow Souls will likely go away for a while as a result - but I do hope that Barras returns to this blues project again one day, as it allows him to showcase a different side to his playing and in Jane the band have a great singer.

Testament's 'Para Bellum' - Album Review

Whilst many of the metal subgenres of the 1980s are now full of veteran acts that seem to have nothing to say, with the glam/hair metal scene being a key example, the thrash scene remains vital. Many newer thrash acts have taken the genre in different directions over the years but, crucially, most of the original big names are still active and creative. Metallica's last album is still fairly new, whilst Megadeth's next, albeit final, album is due out in January. Anthrax are working on something new and Kerry King picked up last year where Slayer left off with a strong debut solo release. Exodus are also working on something new, Overkill have never really taken their foot off the pedal when it comes to new albums, and when it comes to the German scene Kreator are also releasing a new album next year. These old hands have never really slowed down at all, with each and every band now having a lengthy discography - and another long-standing classic thrash act which falls into this category is Testament. The band formed back in 1983 and released their classic debut album The Legacy in 1987 - and ever since then they have remained one of the most consistent and potent thrash acts, getting heavier as they get older. I saw them live at the 2022 iteration of Bloodstock Open Air and they put some of the newer bands on the bill to shame with their power - whilst their recent run of albums is up there with Kreator's as being the best in the current thrash landscape. Before last month, though, it had been five years since Testament's last album Titans of Creation (which I reviewed here). Released during the early months of the pandemic, Titans of Creation became one of the heavier albums that I regularly returned to during that period. When I needed something fresh and angry during those long days alone it was Testament I often reached for - and seeing some of those songs performed live a couple of years later was certainly cathartic. It could well be the band's best album of recent times, alongside 2012's Dark Roots of Earth, and I have been looking forward to what would come next. Talk of the next Testament album had been abound for quite a while - but the band underwent some uncertain periods drummer-wise in recent years, as a returning Dave Lombardo replaced long-time drummer Gene Hoglan in 2022 only to leave again the following year. I got the impression at the time that Lombardo's reluctance to commit to Testament again was a frustration for the band - so they instead went out and found someone new. Chris Dovas (Seven Spires) has been the band's drummer for the past couple of years, then, having come onboard in 2023 - meaning that Testament's latest album, Para Bellum, released last month, is his first with the band. Para Bellum is the first album since 2008's The Formation of Damnation to not feature Hoglan, then, but the rest of the long-standing previous line-up return from Titans of Creation. Dovas, an intricate drummer with a prog background, has been credited by the rest of the band with giving Para Bellum its edge - and it is likely the band's heaviest album overall for quite some time. Testament have flirted with extreme metal trappings on and off for years, especially on 1997's Demonic and also on Titans of Creation to an extent, but Para Bellum doubles down on those influences at times - with guitarist and principal songwriter Eric Peterson embracing his love of black metal; whilst frontman Chuck Billy unleashes some pretty ferocious death-adjacent growls at times.

Lead guitarist Alex Skolnick and bassist Steve Di Giorgio round out the line-up here - meaning that there are three classic-era members and one long-time member present here alongside new face Dovas. One of the heaviest songs here actually kicks things off, with the black metal-inspired For the Love of Pain being a ferocious way to kickstart a thrash record. Peterson's opening riff is as chunky as ever, presenting a slightly faster than mid-paced groove early on - although Dovas' drumming beneath this riff gives a faster overall impression. Testament have often been at the chunkier and groovier end of thrash, and there are riffs here that certainly give that impression - but there are also more traditional thrash patterns and blast beats here to up the pace. Billy's vocals here feel really heavy. His growls are generally death metal-esque in tone, whilst still containing plenty of his usual grit, whilst Peterson adds a lot of black metal-esque screams in the background. There are occasional moments where he takes the lead, too, with fast-paced black metal moments adding some discordant leads and riffs to the track, but generally he sings in the background to spookily harmonise with Billy. The song feels a little unsettling at times as a result, then, but the transitions between the typical thrashier sections and the black metal moments work well. There is a lack of big lead guitar or solo moments during the song, but clean guitar melodies often add depth between the scraping black metal riffing - whilst it is the vocal diversity that gives the song its melody and variety, despite a handful of more melodic guitar moments mixed into the background. In some ways, the song might be the most 'different' here, so opening with it seems a little strange - but its pace and power works well to kick things off. Lead single Infanticide A.I. is perhaps more typical of the core Testament sound. Peterson lays down an early solo over some percussive drumming from Dovas - but once the verse kicks in that long-standing Testament sound is very much front and centre. There are some extreme metal-adjacent riffs, too, such as a tremolo pattern which later forms part of the chorus, but the verse is very much thrash 101 - albeit with the chunkiness which Testament are known for. Billy sings in his more typical, more melodic manner here - and his voice has lost none of its power over the years. He powers over the riffing, although in the chorus he does add some of his death growls occasionally to accent the otherwise more melodic vocals used elsewhere. The chorus is a hooky one, and it sticks in the brain from the off. I can see the song working well live as a result - and Skolnick later throws in his first solo on the album, which is busy and varied given his love of jazz. Reining in the pace of the opening couple of numbers, Shadow People is another classic-sounding Testament song. Whilst Infanticide A.I. was perhaps at the fastest end of the band's core sound, Shadow People sits in that sweet spot between thrash and groove that Testament have always done so well. Metallica's influence on Testament can always be heard through songs like this, and the chunky riffing of Peterson whips up plenty of powerful headbanging grooves here - whilst Dovas' drumming is a bit more straight forward this time, despite some busier pre-chorus moments and some extended double bass trickery during a later bridge section that feels haunting thanks to clean guitar melodies and Billy's semi-whispered vocals. Skolnick's soloing is once again busy, and the backing to his shredded leads is maybe the most chaotic musically the song gets. It certainly feels more hectic than anything else here - with chunky riffing which characterises the rest of the song soon kicking back in.

Meant to Be slows things down further as it is the album's sole ballad. Whilst the album was being put together, the band announced that Nightwish's Floor Jansen was going to contribute to a ballad on it - but then later said that she dropped out when the news was made public before she had agreed to do it. The whole situation seemed quite strange, as that does not seem like something to get all that upset about - but then again Jansen did do an interview being quite critical of Nightwish's last album just before it came out, so she does seem to be in quite a caustic mood of late. Regardless, Meant to Be works well as it is without her - and as far as thrash ballads goes it ticks a lot of classic boxes. Again, the Metallica influence can be heard throughout. In fact, the verses here really do feel like a mash-up of Fade to Black and Nothing Else Matters, almost to the point of parody, but Billy's melodic vocals still manage to sell the song - whilst the repeated use of dual lead guitar melodies throughout does help to shake things up. Acoustic guitar and strings add depth at times, especially during the verses, and the song's length is increased with some acoustic-led bridge sections and an epic guitar solo from Skolnick which moves away from his usual shredded style to lay down something suitably emotional and bluesy. High Noon gets back to a more typical sound for the band. Opening with Billy's voice alone, the track then gets underway as chunky thrash track - with Billy largely utilising the growlier end of his voice. Peterson adds some of his black metal shrieks to this song too, but they are generally mixed into the background to act as harmonies. There are fewer black metal traits here this time, though, aside from the vocals - but there are some heavier moments that feel death metal-influenced, thanks to some really intense drumming, discordant guitar riffs and leads, and the mix of extreme vocal styles. The guitar solo section, which sees Peterson and Skolnick trading licks, is backed by some juddering death metal riffing and drumming - whilst a Peterson-led screamed section repeats a couple of times to feel like an additional chorus. Despite this, though, the song feels quite anthemic overall - and there are certain bits which Billy really sells that would go down well live. Witch Hunt ups the pace again, moving away from the chunky thrash of the previous song to a much heavier thrash sound which sounds much more death metal-influenced. Billy's vocal melodies are too fast-paced to be truly growled, but he sounds menacing throughout - whilst Peterson again adds some harmony screams during a few more intense moments. Whilst the song is still very much a thrash track, it just feels heavier overall. The drumming is much more extreme metal inspired overall, with Dovas never sitting still at all, whilst blast beat-led sections later on once again inject some black metal vibes which are backed by subtle strings. It is strange, then, that the guitar solo section feels more laid back - with both Skolnick and Peterson taking a more cinematic approach. Nature of the Beast has a bit more of an old-school feel. The main riff feels like something from the NWOBHM era, so there is a bit more of a classic rock strut throughout - which is aided by Billy moving away from his more extreme metal vocal style and instead going for something much more melodic. Dovas' drumming at times feels busier than the rest of the song, but the mix of vibes works well, but generally the song just feels like a bit more of a melodic antidote to some of the more intense songs found elsewhere. Billy can do melodic vocals well when he wants too, and a groovy chorus is later on easy on the ear thanks to some smoother vocal melodies - whilst occasional harmony guitar melodies also add to this vibe. The song does stick out a bit as a result on this heavy album, but the change is a welcome one overall.

Room 117 was a song which, when first listening to the album, stood out quite a lot to me. Since then it has been overtaken by other songs which I think are better - but as far as a simple, hookier thrash piece goes Room 117 is a strong addition to the album. There are shades of the previous song here, too, given Billy's more melodic vocal approach, but the riffing is much more typical mid-paced Testament in style so the song feels heavier overall. There are plenty of grooves here thanks to the more mid-paced approach and the more reined in drumming utilised this time - whilst a hooky chorus which does see Billy growling a little at times is one which easily gets stuck in the brain. Skolnick's guitar solo is another great one, too, as its starts slower before exploding into something more shredded and thrashy and Dovas lays into his double bass drums. Sometimes the simpler songs stand out for a reason - and despite all the more intense songs here there is still room for something groovy and catchy. Havana Syndrome returns to a somewhat more complex sound following two more straight ahead pieces. The song is very much a classic thrash piece at its core, but Dovas' drumming throughout adds a slightly progressive flair. Whilst Hoglan might have been more intense in his straight ahead thrash grooves during his time with Testament, I like the flair that Dovas adds to this album. His prog background is apparent in some of his drum patterns - and this song in particular feels busier and more interesting as a result of his playing. The riffing and overall vibe is very much classic Testament and classic chunky thrash, but the drumming elevates it further - and the song has been a grower since I first heard the album. A hooky chorus helps, too, though, thanks to some harmony guitar leads that sit beneath Billy's Metallica-esque vocal melodies - whilst Skolnick's guitar solo is packed full of memorable hooks. The album then comes to a close with the title track - which is a bit more lengthy than most of the other songs here, aside from Meant to Be, at six and a half minutes. It opens with quite a lengthy instrumental section which is built around some Skolnick leads and soloing - and, in fact, the song in general is packed full of soloing. No sooner is the first verse over and Peterson is already adding some more screaming leads - and each lead-based section feels nicely stretched out to allow for the soloing to really take hold. The overall feel of the song is quite epic, then, and this is expanded upon later with some shout-along chorus sections which see Billy using his gruff vocals to create an anthemic feel which differs from the more cinematic approach taken elsewhere as a result of the lengthy soloing. Despite the song feeling a bit more stretched out to allow for this extra soloing, it does not overstay its welcome. The solo sections help to break up the overall flow of the song nicely, and the returning chorus is welcome to inject some anthemic vibes back in. Overall, though, the song is very much classic Testament - just allowed to flow a bit more than usual. It ends the album on a high as a result, with both Peterson and Skolnick impressing form a guitar perspective - before a quiet, clean-guitar led outro sees the album fade out proper. Classical-inspired melodies are utilised here and they work well - with the lengthy title track coming together nicely. Overall, then, Para Bellum is another very strong album from Testament. There are plenty of big hooks throughout and the focus on some heavier sounds at times works well. Testament excel when injecting some more extreme metal vibes in my opinion and this album works as well as it does as a result. Testament are a band that just do not seem to know how to slow down - and they continue to go from strength to strength in a genre that still feels vital.

The album was released on 10th October 2025 via Nuclear Blast Records. Below is the band's promotional video for Infanticide A.I.

Orbit Culture's 'Death Above Life' - Album Review

When it comes to the more acceptable face of extreme metal, I am not sure that there is a brighter rising star in the world currently than Sweden's Orbit Culture. Despite having been around for over a decade at this point - it feels like over the past five or so years they have really wormed their way into the metal mainstream, and they likely have the potential to follow a band like Gojira to a surprisingly high status given how inaccessible and quirky their music can be. I certainly cannot claim to be an Orbit Culture expert - but over the past few years I have become something of a casual fan. I was planning to check them out at the 2022 iteration of Bloodstock Open Air but never ended up doing so, so it was not until 2023 when I discovered them properly - when I saw them opening for Trivium in Bristol. Despite their short set and their music not wholly doing it for me, I was nevertheless impressed. It is hard to describe Orbit Culture's music. They are generally called both a melodic death metal band and a groove metal band - and they do somewhat do something which fuses the two sounds. I would not say that they exhibit the most obvious elements of either of those sounds, though. Given that they are from Sweden, a country with fantastic pedigree when it comes to melodic death metal, Orbit Culture do not exhibit a traditional Gothenburg sound. There are no NWOBHM-esque harmony guitar leads or soaring choruses here - with little here that recalls bands like At the Gates, In Flames, or Arch Enemy. I think that Orbit Culture are considered to be melodic death metal as they just do not feel extreme enough to be true death metal. There is clearly more of a sheen to their sound than most death metal acts have - whilst the use of some cleaner vocals also sets them apart. When it comes to groove metal, too, there is little Pantera, Machine Head, or Lamb of God. I hate to make the comparison again, as it seems lazy, but Orbit Culture groove in the way that Gojira do. I think that they are more mechanical and less off-kilter and progressive than Gojira - but there are certain similarities between the way the two bands court both extreme and other metal fans. That being said, though, Orbit Culture's riffs are not as mechanical or tech metal-sounding as a Meshuggah or a TesseracT - meaning that, whilst there is a hint of a djent sound at times it is not a sound I would say the band exhibit significantly. As such, Orbit Culture's music straddles many camps - but it is consistently heavy, often quite oppressive, and occasionally a bit more melodic; so I can see why they have started to become popular. I saw them again for a second time earlier this year, again with Trivium, and a large arena crowd seemed to latch onto them - which is fitting given that they have just released their fifth studio album Death Above Life. It is the band's first album on a big label, Century Media, and their first since 2023's Descent. I have heard both Descent and 2020's Nija a handful of times each - and Death Above Life is certainly similar, albeit better produced. Descent in particular is a very loud album, with almost no dynamic range which makes it a fatiguing listen. I think that this vibe is something which Orbit Culture want in their sound, though, as Death Above Life still exhibits that feel to an extent - but it does generally feel a bit easier on the ears. It is the band's third album with their current line-up, too, which has been in situ since 2019, with frontman Niklas Karlsson once again the driving force from a songwriting perspective.

Despite the slightly less oppressive production this time, though, the band's overall sound has not changed significantly. Perhaps Karlsson's cleaner vocals, which are still quite gruff, are featured a little more - but signing to a bigger label has not seen the band attempt to tone down their sound. Kicking off with Inferna, there is no slow build up - as a brief drum barrage from Christopher Wallerstedt soon gives way to the first of many big riffs on the album. This opening instrumental section feels a little faster and thrashier compared to the band's core sound - but once Karlsson starts to growl away a mid-paced groove is settled on. As is often the case, the riffing throughout the verses is pretty intense. The guitar tones that Karlsson and Richard Hansson utilise throughout are thick and uncompromising - whilst Fredrik Lennartsson's bass is quite trebly so that it can cut through the murk. Cold synths are often utilised by the band, which add a slightly melodic edge, and they really kick in here during a mid-paced, cinematic chorus - which sees Karlsson's clean vocals, string-like synths adding depth, and the occasional lead guitar moment. The verses are mostly oppressive, though, thanks to the pummelling riffing and Karlsson's deep growls - whilst a later breakdown hints at those djent influences thanks to some mechanical riffing that ups the pace somewhat. These moments have a hint of metalcore about them, but heavier overall, and this breakdown later morphs into a proper bridge - with more synths and deep growls. Bloodhound ups the pace somewhat, opening with an off-kilter groovy riff that feels at odds with the fast-paced double bass drumming beneath it. This mix of grooves is where Orbit Culture exhibit similarities to Gojira, but there is a much more typical death metal sound at play once the song gets going proper. It maintains a faster pace throughout - with Karlsson utilising lots of fast-paced growled vocal lines here to create some pretty hooky moments. There are hints of nu-metal in the vocal patterns during the neck-snapping chorus, despite the growls remaining, whilst the verses feel a little thrashier thanks to a marginally cleaner vocal and some busier guitar playing. The synths that the band use throughout the album also have a nu-metal edge at times. Thankfully the nu-metal influence throughout is not great, but it can be heard occasionally - particularly in the more rhythmic vocal moments and a breakdown section here which features white noise and distorted synths, creating an industrial feel which some slower riffing soon breaks through. Moments like this maintain that ear-fatiguing sound from earlier albums, though, and the synths can be quite unpleasant to listen to at times - especially at the peak of this breakdown section where they really crackle. The chorus and riffing is memorable here, though, and I can see the song going down well live as a result. Inside the Waves immediately pulls back from some of the more intense moments of the previous song, with Karlsson opening with his cleaner vocals - before a more typical melodic guitar lead can be heard behind a slightly thrashy riff. Two tours with Trivium have clearly rubbed off on the band somewhat, then, as the opening riff and lead combo is not that far from something Trivium may come up with - whilst the chorus is certainly more overtly melodic thanks to cleaner vocals and some hooky melodies. The verses are more typical of the band's core sound, though, with deep growls and barrelling riffing - although mournful guitar leads are also included for melody's sake. The leads tend to be towards the rear of the mix, so they do not really jump out of the speakers, but the nevertheless add some subtle melody among the riffing - and the album's first proper guitar solo is also included here.

The Tales of War opens slowly, with some atmospheric synths, but it is not long before another riff kicks in - and the song morphs into a pretty strident, mid-paced groove-fest. The synths remain in the background, adding a slight industrial edge, whilst it takes a while for the vocals to come in - meaning that the opening riff morphs and changes slightly over a few bars to maintain interest. The groove remains despite the shift in the riffing, but once the vocals join in the pace is upped somewhat and the verses have something of a more straight ahead thrash feel. Bursts of double bass drumming and more organic riffing give this impression, but the back ends of each verse feel more groovy - with mechanical riffing and more deliberate vocal patterns. Like the previous song, too, this is a track with a more overt chorus. Karlsson sings it clean again, and there are actually some quite big vocal harmonies this time - whilst the synths warm up to create a more cinematic sound. The chorus actually feels quite anthemic as a result, especially given the harsh vocal counter-melodies - whilst another guitar solo later builds on this more melodic feel. Hydra returns to something more typical of the band's core sound - with a mid-paced riff kicking in from the off over which Karlsson adds some growls. Clean vocals are utilised at times during the song, but they still sit above the tight, groovy riffs - but the growls dominate, and the groove rarely changes. It is quite a monotonous song as a result, but it works quite well in just setting a tone. Synths come and go, but they are utilised less than during the past couple of tracks - with this track very much a riff-fest. There is a brief bridge section which sees the pace speed up, but this is short lived as the main groove soon returns - albeit with a guitar solo this time. Nerve is more of a melodic piece from the off, with Karlsson largely sticking to clean vocals throughout. As has been utilised elsewhere on the album, there are growled counter-melodies, particularly during the chorus, but generally this song is sung clean - and there is more of an alternative metal/metalcore vibe on show throughout. There is more of a lead guitar presence, although it is again quite low in the mix, whilst the synths are very overpowering this time - almost burying the riffing at times. Big guitar riffing and grooves are just generally much less of a focus this time, though, and the overall pace is faster - with chugging riffing and plenty of double bass drumming giving that metalcore vibe. The clean vocals, albeit with a rasp, also add to this feel - whilst a later shredded guitar solo is the only real moment of prominent guitar playing here. There are some vocal hooks, but despite all the clean vocals the song is not as hooky as some of the others here. The closing section of the song is heavier, though, with a lot more growls - and the synths fade away to create something more typical of the band's core sound for the last minute or so. The album's title track follows, and it returns to a much more groove-based sound. The main chugging guitar riff is slow-burning and somewhat doomy, but the juddering synths which accompany it make it feel a bit more upbeat than it actually is - and the flashy electronics really add to the overall groove. They are the sort of synth additions which could get annoying after a while if utilised incorrectly, especially as they persist throughout nearly the whole song, but they actually add nicely to the overall rhythm - and feel more like an addition to the drums rather than true synths. This allows the song's groove to really sink in - and some of the riffing sections here are some of the album's hookiest, whilst a bellowed chorus is another that sinks into the brain.

The Storm opens with some tremolo guitar leads, which have a bit of a black metal-adjacent sound, whilst percussive drumming and gathering synths swirl away in the background. When I first listened to the album, this was the song which stood out the most - and it remains a real favourite. It is easily the hookiest track here - and there are some great hooks thrown on among the grooves. The aforementioned guitar lead is later utilised during parts of the verses - but there are also verse moments which feature some of the snappiest riffing on the album. The back and forth between this lead-based approach and the riffing really works well for me - whilst the later chorus just takes hold and never lets go. It is largely still growled, but Karlsson's vocal melodies here are so hooky - whilst later chorus renditions also feature some synths and harmony vocals to make it sound bigger. A guitar solo section builds on some of the leads utilised elsewhere, but generally this is just a great mix of groove and melody - and it strikes the balance for me better than anything else here. Neural Collapse gets back to a more typical groove-based approach - although there is something of a classic rock strut to some of the riffing here. Some of the grooves just feel nicely old-school, then. The drumming is less mechanical than it often can be, too, and this allows the track to feel a little more organic - with a good mix of growled and clean vocals utilised throughout. Guitar leads are also used here, but again they are quite low in the mix. The occasional metalcore-adjacent guitar lead is welcome, though, whilst a later thrashier chorus sees the organic nature drop away to present something more intense. A quite industrial-sounding guitar solo is later employed to further cast aside that organic feel - as it is more noise and effects than genuine melody. As such, the song is a bit of a strange mix of vibes - but it captures Orbit Culture's overall sound quite nicely, as they are a band that seems to cram quite a lot into all of their songs. This is especially so given that later in the song all the riffing is stripped away to leave some atmospheric synths and soaring guitar melodies to add yet another edge. The album then comes to a close with The Path I Walk, a much slower song which opens with melancholic clean guitar melodies and some of Karlsson's cleanest vocals on the album. His clean vocals generally still have a gruff edge to them, but during this song he sometimes sounds genuinely clean - with his mournful melodies and the sombre clean guitar licks essentially the basis of the song, whilst synths are added into the background to add depth. The song sticks to this sparse arrangement for quite some time, letting the vocals carry everything, but some percussive drumming is later added in - whilst some delicate acoustic guitar melodies are added, solo-like, into the background, again behind Karlsson's vocals which become more intense at this point. The song essentially remains like this until the end - when it slowly fades back to how it started, with clean guitars, before the album comes to a quiet close. It is a song which is very different to the rest of the album, but it works well as an atmospheric closer following song after song of pummelling riffing. Whilst I am still not convinced that this band is wholly for me, I have been enjoying my time with Death Above Life. Orbit Culture very much have their own sound which is fully on display here - and I can see why they are continually growing in stature. It is an album that does a lot with plenty of ingredients - and it feels like a step forward, at least production-wise, from what came before. It is an impressive album that is for sure - and I can only see the band growing further from here.

The album was released on 3rd October 2025 via Century Media Records. Below is the band's promotional video for Death Above Life.

Arch Enemy - London Review

As I hinted at during my previous entry here, which covered the Graham Bonnet Band's recent show in Plymouth, this past weekend saw my last trip to London of the year. Whilst I am happy to travel to different UK cities when it comes to gigs, I probably end up in London the most by default. So many of the bands I like are the sort that only tend to do one UK show as part of a wider European tour - and when that happens London is the destination for such 95% of the time. Even where there are other options to choose from, London often ends up being the best option. The range of venues and hotels means that there are often affordable plans to be made - and bands generally want to route their tours so that they hit key cities on and around weekends. London are much more likely to get shows on a Friday, Saturday, or Sunday, then, which works well when considering work commitments. There is always something to do in London, too, so I never mind travelling to the capital city - as there is plenty I can fill my day with before heading to a show. Late-running trains have made that less easy in recent times, though, and, sadly, I seem to be in the midst of a period of habitually late trains. My trains both up to and back from London this past weekend were delayed somewhat, meaning that partial refunds will be heading my way, but I still got to London at about 1pm on Saturday - which meant that I had a bit of time to wander around before I needed to head to my hotel. The reason for the trip to London was another visit to the excellent Eventim Apollo, my third in just over a month, this time to catch Arch Enemy on their latest, lengthy European tour. It was only just over a year ago that I last saw Arch Enemy live, which was also at the Apollo. Last year's tour, though, was a co-headline affair with In Flames, with Soilwork in support, whereas this tour, despite a great undercard, was very much Arch Enemy's. In a way I am surprised that the band have undertaken two rather lengthy European tours in consecutive years, as that could be seen as diluting the market, but the bills have perhaps been different enough for this not to matter - and Arch Enemy are one of those reliable live acts that I will try and see whenever they make it over to the UK. Since last year's show, too, they have released their latest album Blood Dynasty (which I reviewed here). The album was already on the cards last year, and two songs from it were played on the previous tour, but this current tour has allowed the band to showcase more of the new album - which, for my money, is their best for a few years. The Apollo is perhaps too big for Arch Enemy on their own - but given that the touring party included big-hitters in their own right Amorphis and Eluveitie, booking the venue was a good move. Whilst the Apollo was certainly not as packed as it sometimes can be, it was pretty full - similar to the show last year. At least there was a little bit of room to move around towards the back, unlike for Helloween's show there a couple of weeks ago, and I tended to stay near the back throughout. I remember that the sound mix for last year's show was quite muddy - but that was not the case this time. Thankfully, the sound was pretty clear throughout - which helped the evening to be a memorable one. Given that there were four bands on the bill, including some very tight changeovers, the sound being so clear throughout was an achievement - particularly given the intricacies of a band like Eluveitie. As there were four bands to get through, too, the doors opened at 5:30pm - with the music kicking off at 6pm. With many of the changeovers being around 20 minutes long, too, there was not much hanging around at all.

Opening the show, and playing for just over half an hour, where the US death metal rising stars Gatecreeper. Clearly the smallest band on the bill, Gatecreeper are fresh compared to the other long-standing acts on the tour - but they did not let this get in the way of them putting on a strong show. Easily the heaviest band on the bill, too, Gatecreeper play a largely mid-paced brand of very traditional death metal. Unlike other newer acts, Gatecreeper stick to a tried and true formula. They are not trying to fuse their death metal with other trends - instead they just turn up their guitars and churn out groovy riffs, whilst frontman Chase Mason delivers some ferocious growls. Whilst I am not Gatecreeper expert, I am somewhat familiar with their recent work. I covered last year's Dark Superstition (which can be read here) and enjoyed it at the time - plus I have had a couple of listens to 2019's Deserted. I certainly have not listened to the band enough to be properly familiar with the songs in a live setting, though, but I still enjoyed their gritty set. There were some thrashy moments which saw the band speed up, but generally Gatecreeper are about big riffs and grooves. As such, there is something of a traditional heavy metal strut to much of what the band do - and all throughout the set a sea of headbanging was bobbing away in front of me. Gatecreeper are very much that kind of band - and the clear sound mix allowed the dual guitar riffing, occasional solo, and Mason's throat-shredding vocals to shine. The vocals were high in the mix, too, and the slower pace of the band's songs allowed for many drawn out growls - meaning that Mason impressed. The occasional faster moments hinted at allowed for brief changes of pace, but these sections were fleeting - largely focused around short songs that acted as bursts of speed in between the main numbers. Gatecreeper have made something of a name for themselves so I imagine that some in attendance were familiar with them - but nevertheless there was a strong atmosphere from the off. Everyone was getting involved with the headbanging, which Mason often insisted on, and there were even some mosh pits despite the band's mid-paced grooves. They had a short set compared to what was to follow - but they made their time on stage count, impressing as they did.

Both Amorphis and Eluveitie are acting as joint special guests on this tour - rotating their position each night. In London at least, Eluveitie were next - and the Swiss folk metal act put on a 10-song set that was packed with class from the off. I last saw the band in 2019, when they somewhat blew Lacuna Coil off the stage, so I was looking forward to seeing them again - and they did not disappoint. With a new album to promote themselves, Ànv (which I reviewed here), the band played a crowd-pleasing set with a good mix of material from their recent releases. It was actually two songs from their previous album which kicked off the set, though, with the heavy Ategnatos and the more melodic Deathwalker getting things underway. Given how complex the band's sound is, the mix was crystal clear - with both Lea-Sophie Fischer (violin/hurdy gurdy) and Nils Fischer (whistles/bagpipes) high in the mix. The traditional folky melodies cut through the metal weight nicely, then, whilst the snarling vocals of frontman Chrigel Glanzmann sounded as raw and as powerful as ever. His growls are some of the most venomous in metal I have always thought, but his ragged edge works well in the context of the band's folky sound. He added whistles and what I think was a mandola when needed, too, but generally he prowled the stage and added his guttural growls to the music - whilst Fabienne Erni (vocals/harp) added harmonies and vocal counters early on. Erni's harp was the only instrument that really could not be heard at all, but, in truth, she is in the band more as a harmony vocalist and occasional secondary lead singer - and later on she got to shine quite a bit during some somewhat more mellow pieces like A Rose for Epona and The Call of the Mountains. The dual vocal approach has always worked well for Eluveitie - and at times Erni also used her voice more like an additional instrument, adding wordless melodies in a folky manner. A handful of tracks from the new album were played, too, including the epic The Prodigal Ones and the more melodic Premonition. Some more traditional 'metal' elements have crept into the band's songwriting in recent years, too, and these newer tracks often included some shredded soloing from Jonas Wolf (guitar). Lea-Sophie often soloed, too, and her violin melodies were often the focal point of the set - although she switched to hurdy gurdy for a couple of numbers in the absence of a full-time player of the instrument in the current line-up. Even with this slightly shrunken line-up, there did not seem to be that much reliance on backing tracks, at least as far as lead melodies and instrumentation were concerned. Eluveitie have generally looked to be authentic when it comes to their folk instruments - and both Fischers (I am not sure if they are related or not) are new to the band since I last saw them and impressed. Glanzmann still manages to keep the band going and sounding true to his vision despite all the changes - and the folky Ambiramus allowed the traditional melodies to really shine. Sadly the set was over almost as quickly as it started, though, but two heavier pieces rounded things out - with the riffy King and the ever-present Inis Mona prompting a bit of a sing-a-long. I would love to see the band headline one day - but until then this latest taster of the band live will have to do. The setlist was:

Ategnatos

Deathwalker

The Prodigal Ones

Exile of the Gods

A Rose for Epona

Premonition

Ambiramus

The Call of the Mountains

King

Inis Mona

Following another quick changeover it was time for Finland's Amorphis. Despite being big fans of both Arch Enemy and Eluveitie, Amorphis are probably the band on the bill that I like the most. It was also in 2019 that I last saw them live, too, so I was very much ready to see them for a fourth time - and a nine-song set presented the best of the band's recent albums to large crowd. Amorphis also have a new album out, with Borderland (which I reviewed here) having dropped recently, and they kicked off with one of the new tracks Bones. The heavy track has already become one of my favourites from the band. The new album is somewhat mellower on the whole than is perhaps typical for the band, but Bones is on the heavy side - with frontman Tomi Joutsen delivering some devilish growls throughout. In terms of vocal diversity, there are few better than Joutsen - and the set showcased his range with much of Bones featuring his powerful growls, whilst the older Silver Bride was largely sung clean. Like the other bands on the bill, Amorphis' live sound mix was clear - but they were a little on the quiet side. All of the other bands were loud, but Amorphis felt a little more quiet for some reason - and I also feel that they did not garner as much of a strong reaction from the crowd as Eluveitie had done. In fairness, Eluveitie's folky music can feel fun and upbeat at times, despite the heaviness, whereas there is a murk and a gloom to Amorphis - even acknowledging the size of some of their choruses. There were still plenty of fans in attendance, though, but of the three bigger bands on the bill they struggled the most to get the crowd going - even if I was singing along to everything near the back. It was generally a pretty forward-looking set, too, with six of the nine songs coming from the last four albums - and only one from the pre-Joutsen years. It was very much a set of favourites and hooky tunes, though, with sing-a-long numbers like Wrong Direction and The Moon setting an early tone. Esa Holopainen (guitar) was easily the most melodic guitarist of the night, with every song packed full of slow-burning and hooky leads, whilst Santeri Kallio (keyboards) made use of a lot of retro sounds to add that prog edge which Amorphis has become known for in recent years. The whole set was just full of melody, then, and Joutsen did his best to get the crowd going. Another new number in the slightly funky Dancing Shadow did see some movement in the crowd - whilst the more percussive and heavy Death of a King showcase plenty more big growls and some potent riffing from Tomi Koivusaari (guitar/vocals). Given that only nine songs were played, the set really flew by. By the time Joutsen was announcing the only true oldie in the set, Black Winter Day, there was not much time left, but the warm synth melodies filled the room as a few casuals recognised the classic - before House of Sleep, a relative oldie at this point, did somewhat encourage a bit of a sing-a-long. It contains one of the band's best choruses so it was unsurprising that there was some singing - but it was left to the newer classic The Bee to round everything out. This one also garnered a bit more of a reaction, but it was a shame that Amorphis struggled a little more to get the crowd onside - although, in truth, their overall vibe is generally more downbeat. That being said, it was great to catch up with the band again, and I hope they will return as a headliner next year to fully present the new material. The setlist was:

Bones

Silver Bride

Wrong Direction

The Moon

Dancing Shadow

Death of a King

Black Winter Day

House of Sleep

The Bee

A curtain came down to cover the stage following Amorphis' set, and it was soon time for the evening's headliner. Arch Enemy's setlist felt like an expanded version of last year's effort - with a couple more new songs thrown in and a couple of other favourites added back in. Despite riding high on the new album, though, they opened with Deceiver, Deceiver from the previous album - but the fairly mid-paced piece worked well as an opener. Given the muddy sound at last year's show, it was nice to hear the band more clearly this time. The Michael Schenker-esque leads from Michael Amott (guitar/vocals) often cut through the mix with melodic power - whilst frontwoman Alissa White-Gluz could be heard loud and proud. At times, she sounded more demonic than usual, with her early set vocals sounding especially guttural, but as the set moved on she sounded more typical - and she was also able to showcase her clean singing at times. Despite the four new songs played, there were still plenty of favourites included. The oldie Ravenous was up second, with plenty in the crowd singing the chorus hook back at the band, before the excellent Dream Stealer and Blood Dynasty from the new album kept the vibe going. The former has become a real favourite of mine, despite finding it a bit of a jarring song transition-wise at first - whilst the title track proved to be a killer live addition. I like the song on the album, but live it felt like a whole different beast. White-Gluz really spat out the chorus vocals with real power - and it become an overall set highlight as a result of this and its strong grooves. A couple of older songs in War Eternal and My Apocalypse then gave the more casual fans something to sing along, too, but in truth I am a bit tired of the latter. My only real criticism of Arch Enemy live these days is that they tend to rely on the same handful of pre-White-Gluz songs. I like the fact they focus on the current era, but there are so many old favourites that do not get a look in now. Only Nemesis is essential in my opinion - so My Apocalypse should really be given a rest. Hearing the barrelling Illuminate the Path, with its almost power metal-esque chorus, was actually more interesting as a result - and the thrashy Liars & Thieves is another of the new numbers which shines more on stage. Both of these songs allowed White-Gluz to sing clean, too, and this shook things up somewhat briefly. As the set moved on, though, it was generally newer favourites that where wheeled out. The mid-paced, classic rock-esque The Eagles Flies Alone is pretty much ever-present in the set by now - whilst Sunset Over the Empire is becoming such due to its wordless hooks which can be sung along with. White-Gluz conducted a big sing-a-long during the piece - and generally she interacted with the crowd a lot. She is a great singer and performer but I have never felt that she comes across as that natural when talking with the crowd - but she did this time which was nice to see. It was also nice to see No Gods, No Masters return to the set, as this is an Angela Gossow-era tune which is not always played, and there was plenty of singing and jumping during it before the more symphonic Avalanche brought the main set to a close. Following a brief break, Amott returned to the stage to play the aching instrumental piece Snow Bound - which acted as a lengthy intro to the epic, fast-paced Nemesis. The evergreen classic featured plenty of singing as it always does - and it came to an end with the Fields of Desolation coda as it always does. It was a powerful end to a hard-hitting set, with plenty of balloons in the air, and Arch Enemy once again proved why they are as big as they are. The setlist was:

Set Flame to the Night

Deceiver, Deceiver

Ravenous

Dream Stealer

Blood Dynasty

War Eternal

My Apocalypse

Illuminate the Path

Liars & Thieves

The Eagle Flies Alone

First Day in Hell

Saturnine

Sunset Over the Empire

No Gods, No Masters

Avalanche

-

Snow Bound

Nemesis

Fields of Desolation

Enter the Machine

Despite the night being a long one, the evening never dragged. All four bands, even Gatecreeper, never outstayed their welcome - and the format allowed sets to be punchy and for timewasting and silliness to be kept to a minimum. The strength of the bill likely allowed the tour to hit some bigger venues - and it certainly prompted me to part with my money as soon as it was announced. The sets were all powerful and the song choices were generally spot on - and I cannot imagine that anyone went home disappointed with the range of melodic, heavy music that was on display.