After a fairly local night out on Saturday, which saw me travel to Torquay for the evening to see Steve Hackett play through a few Genesis classics, yesterday I was back on the road again - this time up to Bristol. Despite having only visited Bristol recently, where I saw Marillion deliver a customarily fantastic performance at the Beacon last month, and its relative proximity to me, 2026 has not seen me visit Bristol as often as would be typical. For whatever reason, Bristol shows just have not been the most convenient this year - but it does feel strange to have not visited all that often of late. That is about to change, though, with four more visits planned for the next couple of months - and there are already a few things in the diary there for next year. Trips to Bristol are always enjoyable. It is a nice city overall, and the suite of venues it has on offer means that bands of all sizes can visit. It is lacking a proper arena-sized space, but rooms of all other sizes are essentially catered for - and they are all generally high quality spaces that bands enjoy coming back to. My Marillion trip in September found me at the Beacon, one of the city's larger rooms, but last night I was in somewhere much smaller - as my trip consisted of a night out at the Exchange, one of the smallest dedicated venues in the city. Whilst I prefer The Fleece and the Thekla when it comes to smaller rooms in Bristol, the Exchange has its charm. It is not the most pleasant place to be when sold out, but when there is a little space to move around it is enjoyable - and I have been to a number of quite memorable shows there over the years, even if it is not somewhere I visit too often. The reason for this visit was to see the Tunisian progressive/power metal band Myrath bring their latest European tour to the city. I have been a big fan of the five-piece for a number of years. I cannot remember exactly when I started listening to Myrath, but 2011's Tales of the Sands was their newest album at the time. I remember looking forward to, and pre-ordering, 2016's Legacy (which I reviewed here), too, so it was likely sometime in the early 2010s that I became a Myrath fan. Despite this, though, prior to last night, I had only seen them live once before - which was back in 2016 when they opened for Symphony X in London. I remember the band delivering a strong, but short, set that night - and ever since then I have wanted to see them properly. Since that Symphony X tour, though, Myrath had not returned to the UK until now. I am not 100% sure why it took the band 10 years to return - but a recent interview with them undertaken at one of the earlier UK dates suggests that visa were often an issue. They were scheduled to play at Bloodstock Open Air one year and mysteriously disappeared from the bill - which appears to be down to paperwork not being completed on time. I have always been disappointed by the lack of live UK shows by Myrath, so much so that I am just used to seeing their tour announcements lacking any UK shows, so I was very surprised earlier this year when multiple UK shows were included as part of a second leg of European shows supporting this year's Wilderness of Mirrors (which I reviewed here) - not just an obligatory London appearance. Perhaps the band getting booked to play at Quest Fest in Wolverhampton this past weekend allowed for the necessary paperwork to be completed - but whatever the reason I am very grateful that the UK were finally included, and that I could see them in Bristol without having to travel too far. As such, this was a show that I had been looking forward to since booking the tickets earlier this year - so it was with excitement that I walked up to the Exchange last night.
Given that there was only one support act, the show finished quite early. I was walking back to my hotel just after 10pm - and there was barely any waiting around during the night. The Exchange can sometimes be guilty of making people wait quite a while for the first band to go on - but the evening's sole support act Roses of Thieves went on at 7:30pm, following the venue opening at 7pm. I knew nothing about the Hungary-based folk metal band, but from the off I was quite impressed - and throughout the next 40 or so minutes a good time was had by all. The gig was not sold out, but there were still a decent number of people in the room by the time Roses of Thieves started. The band are quite new, having only been around for a few years, and seemed to be a violin player down, but their bouncy, accessible folk metal was easy on the ear - with the band having seemingly come quite a long way in a short space of time. They already have two albums to their name, with their sound based around accordion and violin (the latter of which was on a tape due to being a band member down) - as well as more traditional metallic riffing. Whilst I like folk metal, I often find it to be a bit cheesy. I tend to prefer the more 'serious' end of the genre occupied by bands like Eluveitie, but I really enjoyed Roses of Thieves' set - largely as there was a big dose of power metal and the folky elements did not seem all that gimmicky. The band just write poppy, memorable songs - and there was no real cheese to be found - unless one considers pop hooks inherently cheesy. Perhaps the cheesiest thing about the band's set were the dungarees worn by guitarist Miklós Kovács - but otherwise the band just rocked through their set and looked like they were having a great time whilst doing so. It helped, too, that frontwoman Ivett Dudás had a great voice and stage presence. She delivered to songs with real conviction, driving everything forward and connecting well with the crowd - despite what was probably a bit of a language barrier. It also helped that the band's material is so easy on the ear. Roses of Thieves are not the sort of band to try and inject progressive moments or other such left-field turns into their music. They stuck rigidly to their folk/power metal sound - with short songs built around folky melodies and strong choruses. I enjoyed essentially everything the band did, and there was a good atmosphere in the room as their set progressed. I ended up buying a copy of their latest album Demons Ascend after their set, so I am looking forward to getting to know band better going forward.
I did pop outside for a breath of air between the two sets, as someone decided it was a good idea to flood the venue with dry ice during the changeover, but I was soon back inside - and pretty close to the stage. The Exchange is one of those venues where the band have to walk through the crowd to get to the stage, so when the five members of Myrath passed me I knew that it was showtime - and soon the lights went down and the intro to The Funeral started playing over the PA. The band took to the stage, taking over from the intro tape at an opportune moment - with the silky vocals of frontman Zaher Zorgati soon filling the room. The Exchange might be a strange little place, but the sound quality last night was excellent. There was a good balance between the guitars and the keyboards - whilst the vocals were always high in the mix. For the next 80 or so minutes, the band ploughed through 17 songs - bringing the best of their North African-influenced progressive/power metal to Bristol. All but one of the songs from Wilderness of Mirrors were played, with the rest of the set made up of older tunes. The band are used to larger stages these days, but they seemed to be having a lot of fun in Bristol. Older cuts Born to Survive and Dance hit the crowd early on, with the latter in particular seeing plenty of movement from those gathered - before Dudás was brought back on stage for the duet Until the End. Zorgati did not speak to the crowd too often, but he did talk about the meaning behind The Clown, as well to offer his heartfelt thanks on occasion, but this just allowed the night to really fly by. Given that I was quite close to the stage, I felt transported back a few years - to when I regularly used to get to the front. It was one of the most fun gigs for a while, then, and I was just swept along with songs like Through the Seasons and Merciless Times - with chorus after chorus coming. I was in front of Malek Ben Arbia (guitar) most of the time, so it was great watching his eight-string riffing and melodic soloing up close - whilst Anis Jouini (bass guitar) seemed the epitome of cool much of the time, playing complex basslines with such a laid back demeanour. Whilst it would have been nice to hear some of my favourite older songs from the band, I cannot blame them for standing behind their excellent new album. Not enough bands do that, and hearing basically the whole thing live made me appreciate some of the songs more than I had previously. Still the Dawn Will Come, which is not one of my favourites from the album, sounded excellent - but songs like Edge of the Night and Breathing Near the Roar, which I already loved, sounded even better live. Myrath are a band for the stage, and their grand sound filled the room. I get the impression that the band are often a bit more theatrical live, but were likely limited by the space last night. Despite this, the music still across very well - and it was good to see Kévin Codfert (keyboards/vocals) actually playing a lot of the main string, etc., melodies live, rather than just adding atmospherics. There was an organic vibe to the set despite the band's complex sound, then, which was emphasised during the slower Soul of My Soul - with its lengthy piano-led sections and aching guitar solo. By this point, there was not much time left, but Endure the Silence and Les Enfants du Soleil were both late set highlights - with the latter turning to stage over to Zorgati's vocals in a big way. The brief instrumental Jasmin essentially acted as a showcase for masked drummer Morgan Berthet, as well as an intro to the band's anthem Believer - which brought the night to a close. There was a good amount of crowd singing during the number, and the band stretched it out, too, ending on a fairly low key note focusing on Zorgati once more. The setlist was:
The Funeral
Born to Survive
Dance
Until the End [w/ Ivett Dudás]
The Clown
Through the Seasons
Tales of the Sands
Merciless Times
Still the Dawn Will Come
Edge of the Night
No Holding Back
Breathing Near the Roar
Soul of My Soul
Endure the Silence
Les Enfants du Soleil
Jasmin
Believer
Given the 10 year wait, I am really pleased to have finally seen Myrath live properly. I have good memories of that support slot in 2016, but I am much more of a fan now - and it was great hearing so many of the band's best newer songs live last night. The small room did not phase them, and the crowd was having a great time throughout. Now that Myrath have been able to come to the UK under their own steam, I am hoping that it will not be another 10 years before they return. I will certainly make an effort to see them again when they return - and I am also now the proud owner of a Myrath shirt.
Whilst I always enjoy travelling away, and having nights out in other cities, it is also nice to sometimes enjoy live music a little closer to home - without the need for trains and hotels. I have lots more travelling to do this year, but I also have a handful of more local events this month - with two here in Plymouth as well as two nights out slightly more further afield in Torquay. I may not cover the staging of Jeff Wayne's The War of the Worlds that I am going to be seeing in Plymouth at the end of the month, as it is not likely to be a concert in the traditional sense, but everything else will be covered here as usual - and the first of those more local nights out happened last night, when I took the trip to Torquay to catch the former Genesis guitarist Steve Hackett on his latest, lengthy UK tour. Torquay does quite well for live music these days. Whilst this is good, as it is pretty close by, it is not the easiest place to get go, either by road or rail, and it is also not the nicest place to spend a significant amount of time in. I can imagine that the town was once thriving and looking its best, especially down by the seafront, but time has not been kind to most of the old seaside resorts - and much of Torquay looks quite rundown these days. As such, an increased live music offering in the town can only be a good thing, and it can hopefully be one spoke of the wheel of wider regeneration - but it also means that those of us within striking distance can enjoy plenty of nights out at the town's music venues. Hackett, being a bigger artist, does not frequent any of the fairly thriving clubs in the main town centre - but instead brings his progressive rock show to the Princess Theatre whenever he comes to town. Last night was my third time seeing him live, and my second time seeing him in Torquay. The first time I saw him was in Plymouth in 2021, which was an excellent night due to him playing the whole of Genesis' Seconds Out, whereas the second time came the following year in Torquay - where, that time, Foxtrot received the full album treatment. Whilst I enjoyed both shows, Hackett is someone that I am unlikely to travel and stay overnight to see, given the amount of competition he faces, so I had not caught him since - as the closest he had come since 2022 was Bristol. When his current tour was announced last year, then, and I saw that it included a Torquay show, tickets were picked up pretty quickly. Hackett and his band are always worth seeing locally, and the Princess Theatre is a pretty decent venue - which is not as tired as it could be given much of the rest of Torquay. This current tour, though, has no particular theme. Hackett is always going to play some Genesis material, as he knows which side his bread is buttered having gone many years barely touching his former band's catalogue, but there was no full album performance this time. As such, then, the tour was billed as a celebration of the best of Genesis - alongside some solo material from his vast catalogue. In truth, this is essentially how Hackett has been operating for the past decade-plus. His shows generally include a first set of solo material, before a second, often longer, set showcases some Genesis material. The second sets are what keep him in the bigger venues, but his solo material has kept him in work over the years - and the mix of the two often makes for an enjoyable night. As such, then, after a fairly quiet Saturday at home resting, it was soon time to head up to Torquay for the evening. Wetherspoons was packed but there was room for a small one - and a quick dinner was enjoyed before taking my seat in the venue's circle.
The lights went down at bang on 7:45pm, and Hackett and his band took to the stage - with new keyboard player Lalle Larsson launching into the classical-esque, gothic intro of the rocker The Devil's Cathedral. Hackett's band looked a little different to recent tours, and now includes three alumni of The Flower Kings, but singer Nad Sylvan remained - and he sang The Devil's Cathedral with all of the power that he brings to the band. Despite Sylvan impressing early on, much of the first set was instrumental. Hackett's solo work is largely instrumental, with vocal-led pieces included occasionally, but there are generally quite lengthy instrumental passages even in the vocal-led songs - and that was evident last night. There was a lot of soloing throughout the night. Hackett, of course, had plenty of time in the spotlight - but it was actually Larsson who maybe soloed the most during the course of the show. Multi-instrumentalist Rob Townsend, a long-standing band member, also soloed, largely on the saxophone, so a lengthy instrumental incursion never felt too far away. Despite this, the first three numbers all included vocals. The upbeat and melodic Every Day followed The Devil's Cathedral, with its whimsical vocals and fluid guitar melodies - whilst a new number in the form of The Sea Inside saw Hackett taking the lead vocally, with Sylvan harmonising. Hackett's voice has never been the strongest, but it worked quite well in the context of The Sea Inside, which also featured plenty of melodic guitar playing. The second half of the first set was largely instrumental, then, save for the strange Camino Royale. Proper progressive rock and jazz workouts were then thrown at the crowd. Ace of Wands was a look back to Hackett's first solo album form 1975, and was more on the melodic side, whereas the dense The Steppes and the aforementioned Camino Royale were a little less digestible. These numbers ended up being some of the biggest soloing vehicles early on - with a lengthy Larsson solo coming at one point, before the sultry jazz club vibes of Camino Royale brought the best out of bassist Jonas Reingold. The bass playing in the song was pure jazz, but there was a fairly laid back vibe throughout thanks to some slow moving grooves and Hackett's fair weak vocals. This song ended up being one of the main showcases for Townsend, though, whose smoky saxophone soloing ended up being a big feature. The first set then came to a close, as tends to be the case on these tours, with the second half of the epic length Shadow of the Hierophant. The almost operatic first section is rarely played live, but the guitar-led closing instrumental section often is - with its slow-burning shredded guitar intro that morphs into some aching guitar melodies, many of which Townsend doubled with one of his saxophones. The guitar melodies in the track always feel quite moving - and the lengthy guitar solo essentially capped off the set nicely following a couple of somewhat less accessible pieces. The solo set felt longer than they have been on previous tours, and I did find that it dragged a little in the middle - but it opened and closed on highs, and, given that he has been a solo artists for significantly longer than he was ever in Genesis, it is understandable that Hackett wants to showcase as much of it as he can before giving the people what they want.
Following a 20 or so minute break, Hackett and the band trooped back on stage - ready to launch into a number of Genesis favourites. The second set may have only included five songs, but they included some of the best material of the Hackett era of Genesis - and the atmosphere clearly took a boost from the off. I was personally very pleased that they kicked off the second set with Dancing with the Moonlit Knight. The song is one of my very favourite Genesis songs, and I had not seen Hackett do it at any of the other shows I had been to. Looking back at the other setlists from the tour so far, it being played is not guaranteed - so I got lucky last night. Sylvan was featured a lot more during the second set, of course, and he nailed Dancing with the Moonlit Knight for me - with some emotive vocals early on and a more powerful delivery during the somewhat heavier mid-section. The song also included some of Hackett's fieriest soloing of the night, showcasing that he was an early user of tapping. Whilst all of the rest of the set I had seen Hackett and the band do live before, it was great to hear some of those Genesis greats live again. The Cinema Show came next, with more emotive vocals from Sylvan - and a lengthy instrumental section later on that gave Larsson plenty of time in the spotlight. Clearly Hackett shone during his solo spots, but Genesis were always much more keyboard driven overall. Larsson's melodic playing throughout did the songs justice, though, and he looks to have already really integrated himself in the band after the fairly recent retirement of Roger King - who had essentially been Hackett's right hand man for years. As it does on Selling England by the Pound, too, The Cinema Show segued into Aisle of Plenty - with the much shorter number bringing Sylvan back to the stage. A fairly lengthy keyboard solo from Larsson followed, which was largely made up of classical piano playing. It probably went on for a little too long for my liking, but it did nicely flow into the opening melodies of Firth of Fifth - a song that has largely become Hackett's signature song over the years. The guitar solo in the song is one of his most notable moments, so it is a part that fans look forward to each night. Despite this, the band really rocked through the track, so it was not just a case of waiting for the solo, but when it did come Hackett attacked it with everything - delivering the busy, melodic feast as would be expected. There was only one song left at this point, but with that song being the 23 minute Supper's Ready thing were far from over. I did wonder if the song might be rested for this tour given that it has been played a lot over recent years - but I suppose it is one of Genesis' best songs, so it was fitting that it was played. The progressive rock epic is always impressive to see played live. Sylvan again really did the vocals justice, whilst Townsend was here, there, and everywhere playing different instruments. There was quite a lot of flute playing during the track - and at times he even seemed to be playing the basslines on a keyboard, whilst Reingold doubled Hackett on the guitar. The song was as powerful and fun to experience live as always - and when it finished the band received a standing ovation as they left the stage. There was time for a couple more, though, and the soaring, melodic Dance on a Volcano was the first song of the encore section, with some excellent guitar and keyboard melodies, as well as that hooky chorus, before drummer Felix Lehrmann launched into a fairly brief drum solo that the morphed into a medley of Genesis' Los Endos and Hackett's own Slogans. Hackett often pairs Los Endos with other songs, with this arrangement, I think, being the same as the one played in 2021 - with the 2022 show being different with another song thrown into the mix. As such, it was one last return to something more jazzy to close things off - with some powerful soloing bringing what had been a lengthy night to a close. The setlist was:
The Devil's Cathedral
Every Day
The Sea Inside
Ace of Wands
The Steppes
Camino Royale
Shadow of the Hierophant
-
Dancing with the Moonlit Knight [Genesis material]
The Cinema Show [Genesis material]
Aisle of Plenty [Genesis material]
Keyboard Solo
Firth of Fifth [Genesis material]
Supper's Ready [Genesis material]
-
Dancing on a Volcano [Genesis material]
Drum Solo
Los Endos [Genesis material]/Slogans
Given that it had been a few years since I last saw Steve Hackett live, it was nice to catch up with him again in Torquay last night and hear some of those Genesis classics. Hackett always delivers live, and his new-look band were as tight as ever - despite Larsson and Lehrmann both being new recruits. My appreciation of classic Genesis only improves with time, and if Hackett comes back to the South West on future tours then I imagine that I will see him again.
There are some bands that can feel like comfort bands. They generally release new music pretty regularly which, whilst likely not ground breaking or even especially outstanding, is solid, enjoyable, and follows an established formula that makes it easy to get stuck into. There are many bands that could fall into that category, but one such for me is the Whitley Bay-based five-piece Tygers of Pan Tang. Forming back in 1978, although only guitarist Robb Weir remains from those early days, the band became a pretty big name during the early 1980s NWOBHM era - with a number of striking album covers, razor-sharp songwriting that mixed melody and crunch, and a guitarist in John Sykes that went onto bigger things with Thin Lizzy, Whitesnake, and Blue Murder. Tygers of Pan Tang have always been more than Sykes' first proper band, though. He was not a part of 1980's Wild Cat, a debut album with a raw edge similar to those early Iron Maiden recordings that showcased Weir as more than capable a guitarist on his own, and the band always felt like more than the sum of their parts - with early frontmen Jess Cox and John Deverill both underrated voices of the NOWBHM era. Save for the back end of the 1980s and much of the 1990s, too, Tygers of Pan Tang have pretty much been active and busy. Whilst Weir is the only member from the 1980s left at this point, something which has been the case for a long time, and there was even a brief period before the band broke up in the late 1980s where he was absent, the band have been on something of a strong run for a while. They have been releasing new material pretty regularly since reforming in 1999, but I feel that the current era started with the arrival of frontman Jacopo Meille in 2004. Meille, Weir, and drummer since 2000 Craig Ellis have essentially formed the core of Tygers of Pan Tang ever since, with guitarists and bassists coming and going - with 2008's Animal Instinct the first album to feature all three. Since then, the band have continued to go from strength to strength - releasing new albums on a pretty regular basis and getting on the road whenever they can. The first album that I got when it was new was 2012's Ambush - and I have picked up everything the band have released since, covering them all here. A new Tygers of Pan Tang album may not be a yearly highlight, but they are certainly albums that I look forward to - as I know that I am likely to enjoy them. This has certainly been the case of late, with 2023's Bloodlines (which I reviewed here), the band's last album, perhaps my favourite of the recent crop alongside the excellent Ambush. They have not released a bad album of late, either, and, at this point, I feel that such is unlikely. Weir and the rest of the band have a core approach that they largely stick to - and there are shades of their classic 1980s sound on all of these recent albums, alongside a newer identity that has been around since Meille came on board. Three years on from Bloodlines and the band have again hit us with something new - with Electrifyed dropping last month. Built again around Meille, Weir, and Ellis, bassist Huw Holding also returns from Bloodlines. There is a new face in the form of guitarist John Foottit (Nerve Senta; Change of Heart; Chrome Molly), who joined the band earlier this year in place of Francesco Marras. I do wonder if some of the album had been worked on before Foottit was in place, though, as Marco Angioni (Chaoswave; Meridian; Empire Drowns; Street Fighter; Withering Surface), who also produced the album, played some guitar here, including some solos, meaning that the guitar playing throughout seems to be split between Weir, Foottit, and Angioni.
Whilst Marras seemed a big part of Bloodlines' success, and it is a shame that he only stuck around long enough to co-write one album, Electrifyed still finds the band in rude health. Their core sound is very much still established here - with the main three of Meille, Weir, and Ellis once again writing some strong songs. Holding has also stepped up here as a songwriter, contributing to a few songs - making the album something of a team effort. It kicks off with Rise Up!, with swirling orchestration and distant twin lead guitars setting a dense tone - but soon a muscular, mid-paced riff kicks in, which feels faster than it actually is when Ellis' drumming kicks in. The main riff is a bit heavier than the band's usual approach, but it works well - especially when it drops in and out during the verses that follow, with Holding's bass sometimes left alone to drive the band behind Meille's vocals. Vocally, Meille sounds as good as ever. He may not be the band's classic singer, but he has been around for over 20 years at this point - and his melodic tone perfectly suits the band's sound. His smoothness nicely counters the tougher riffing during the verses - whilst the chorus here is the first of many pretty memorable ones found throughout the album. The band are rarely genuinely anthemic, but they have plenty of strong choruses in their catalogue - and there is a nice sheen throughout this song thanks to some underlying keyboards, Meille's vocals, and a later guitar solo that is fast-paced yet melodic. The mix of heavy riffing and hooks elsewhere works nicely, and the album gets off to a strong start as a result. Forevermore picks up the pace somewhat, with some hanging power chords opening the song up ahead of some stabbing drumming - before a pacier riff takes over with some shredded guitar leads above. The song does not feel as heavy as the opening number, but the classic Tygers of Pan Tang sound is very much on show here. The riffing style harks back to the 1980s, and there is an energy and smoothness to the overall riffing that is a sound that the band have been exhibiting for many years. The faster, chugging verses are packed full of energy here, with the band sounding fired up from the off, whilst the chorus slows things down a little - with longer held chords and a bit more of a precise approach to allow the vocal melodies to shine. There is a bit more of a dynamic approach taken at times, too, with a slower bridge section that includes clean guitar melodies and some twin guitar leads. The Powers That Be was one of the songs that stood out from the off when I first listened to the album, and it remains one of the overall highlights in my view. Like the previous song, there is a chugging quality to much of this number - but the pace has been reined in a little, instead allowing for a bit of a groovier approach. Despite this, though, there is still an energy to the verses - with a pleasing crunch to the guitar riffing and the prominent bass playing of Holding. This is also one of those songs that does not change things up much for its chorus. The rhythms throughout are similar, but the vocals during the chorus become more pointed - with subtle harmonies and some punchier hooks which would certainly go down well live. There is a strong sense of melody throughout the song, too. Meille's vocals throughout are very easy on the ear, both during the verses and the chorus, whilst the guitar soloing later on is also packed full of melody.
Dark Divinity returns to something more akin to the crunchier sound of the opening number. There is less grandeur this time, though, with the song being a crunchy, slower, heavier number - with a strong bass presence and a pleasing, mid-paced propulsion. Tygers of Pan Tang never feel genuinely heavy, but they can adopt a bit of a creeping vibe when they want to - and this song certainly exhibits such, especially during the pre-chorus, which builds towards a chorus that actually ups the pace a little. The song overall is a powerful one, then, with a simple, strong chorus that is very easy to sing along with - meaning that it is likely to be another one that would go down well live. The way that the song speeds up towards the end is pleasing, too, and it contrasts nicely with the slower pace heard elsewhere. The album's title track follows, and it is a song that I heard the band play live a few months ago when I caught them in London on tour with Demon. I enjoyed the song at the time, but hearing it properly has made it go up in my estimations. It is a song that mixes the band's somewhat heavier side with some classic chorus hooks. The spoken word opening is something a bit different for the band, but the song overall is pretty much typical of the album's core approach. The verses have a snappy energy to them, despite some slightly darker riffing, whilst the chorus is one that really harks back to the classic albums of the 1980s - with a slower, groovy riff topped by some excellent vocals from Meille. The chorus is another of the album's standout sections - whilst the shredded guitar leads that are thrown in quite regularly, backed by Ellis' double bass drumming, give the song more of a kick. A Shadow of Fire opens with some quite bluesy riffing, although the guitars have a metallic edge to them - under which Ellis lays down some percussive drumming. Tygers of Pan Tang have sometimes gone for a slightly bluesier approach, especially in more recent times, and the sound often works well - mixing 1970s riffing with a more metallic guitar tone. That being said, though, the rest of the song is not all that bluesy. Perhaps some of the verse guitar playing feels a bit more organic, but there is a strong drive throughout from the rhythm section that allows for plenty of energy - whilst the chorus is backed by one of the best riffs on the album in my opinion, over which Meille lays down more strong hooks. For me, many of the album's strongest cuts around found during this mid-section run. There are hooks all throughout this group of songs - with the current line-up sounding at their best here. The Nail slows the pace down quite considerably, going for a groovier sound backed by slower riffing and a chugging approach. Whilst not exactly Black Sabbath levels of lumbering, the band's usual snappy approach is not really present here. The guitars throughout have a strong headbanging pattern, under which Ellis' more organic drumming sounds a little louder than usual. The bluesy grooves are pleasing, and it is interesting hearing Meille singing in a lower register than is typical for him for parts of the song. The verses especially have that heavier, deeper sound - whilst the chorus is a bit more typical for the band, with Meille letting rip a little more vocally. Whilst I do like the approach, the song overall is not as memorable as the run of songs that came before it - even if the change of pace is a welcome addition to the album overall to shake things up.
The Fight Goes On returns to something more typical of the band's core approach, picking up the pace again with a snappy riff and a much more strident Meille vocal performance. This song has a lot of the key ingredients to be another strong Tygers of Pan Tang effort, including some excellent lead guitar flourishes throughout which are a bit more dynamic than is typical, but I find the chorus a bit of a let down. The band have attempted to do something of a call-and-response approach, with backing vocals singing the song's title and the Meille responding. The issue is, though, that the backing vocal sections have no power behind them - and they are quite low in the mix. If there were proper, Accept-esque gang vocals during this chorus, it would likely sound very powerful, and the song would be another highlight, but as things are it falls flat - which is disappointing given that many of the other sections of the song are pretty strong. Dark Skies opens with some mid-paced, grinding riffing, before a melodic guitar lead that reminds me of something Michael Schenker might have written for one of his early solo albums comes in. It is a shame that this guitar approach is not retained throughout, but the song is still a pretty enjoyable effort - and it is one that somewhat returns to the majestic nature of the opening cut. The band have never been big users of keyboards, but they are employed in an atmospheric manner occasionally - and this song is one that does so on occasion. There is a bit of a bigger sound conjured up as a result. Tygers of Pan Tang rarely go for an epic sound, and they have something of a working class aesthetic, but this is one such number that feels a bit more ambitious for the band - with lengthier guitar solo sections, the use of synths as mentioned, and Meille really going for it vocally. The chorus has something of an epic feel, even if it is not that expansive in the grand scheme of things, and there is a lot to like here - with the band pushing the envelope a little compared to their usual approach. Revenge Is Sweet, which brings the album to a close, is somewhat similar in approach. It is the longest song here at just under six minutes, and there are a few different sounds going on. Weir makes use of a talk box at times, something which he has done occasionally in the past, whilst the keyboards are much more prominent this time - with a smoother, melodic rock approach conjured up at times. The guitars still drive everything, but there is just a bigger sound on show due to the more prominent use of keyboards. The song is likely the most expansive thing on the album, but compared to any mildly progressive band the arrangement is pretty typical. There are hints of Magnum in the use of keyboards and the slightly more pomp-based sound, but otherwise the core Tygers of Pan Tang sound is well and truly entrenched - with Meille sounding great as usual. It is a strong and slightly different end to the album, but really the song is just Tygers of Pan Tang doing what they do with a few more bells and whistles. Whilst I do not think that this latest album is quite as strong as the last one, Electrifyed remains a very enjoyable effort from Tygers of Pan Tang. The middle of the album in particular is strong, and there are a number of songs here that would work well live. It will be interesting to see what Foottit brings to the band when he is involved right from the start - but with the core three driving the songwriting the core sound will no doubt remain.
The album was released on 11th September 2026 via Mighty Music/Target. Below is the band's promotional video for Electrifyed.
After covering quite a bit of heavier and more progressive stuff on this blog of late, it has been quite nice recently to return to things more organic and stripped back. Ricky Warwick's latest opus was my last album review here, with the Northern Irish singer-songwriter once again delivering the goods on his latest folk and punk inspired rock solo album, but today I will turning to Australia and a band that has rarely been mentioned on this blog before: Airbourne. Despite the possible passing mention, the only time that the hard rock four-piece have been covered here in any detail was back in 2014, when I saw them opening for Black Stone Cherry in Birmingham. In truth, I am not exactly sure why I have not given Airbourne more love over the years. I remember being quite into the band's 2007 debut album Runnin' Wild in the aftermath of its release. I was never a die-hard fan of it, but I liked it quite a bit due to its relentless energy and strong songwriting. Quite a few friends were into the band at the time, too, so I was also lent 2010's No Guts. No Glory. around the time it dropped. I did not own either album at the time, so perhaps I was only ever really a casual fan - and I did not enjoy the second album as much as the first, which is maybe why I slowly stopped paying attention. I periodically check in over the years, though. I remember borrowing 2013's Black Dog Barking from the local library when I was working there, probably a few months or so after its release, and there was that 2014 show that I already mentioned. I remember enjoying Black Dog Barking more than No Guts. No Glory., and the band were also good live, but I soon stopped paying attention again - with even Runnin' Wild rarely getting any attention. I was put off getting 2016's Breakin' Outta Hell due to hearing its title track probably 30 or 40 times over the course of the weekend at that year's Bloodstock Open Air as it was part of one of the few repeated adverts played on the festival's big screens. Following that, I never really revisited the band again. I would often see news snippets so I was generally aware what they were up to - but I did not give their albums or concerts any meaningful thought until earlier this year, when I saw that the band were gearing up to release their sixth studio album. This sixth album, their first since 2019's Boneshaker, is self-titled - and their first to feature rhythm guitarist Brett Tyrell, who replaced Jarrad Morrice in 2023. In a way, it seems strange that it has taken Airbourne seven years to follow up their last album. Airbourne's no-nonsense brand of true Australian hard rock, which is often compared to AC/DC, is not exactly complex - so putting new material together is unlikely to be as challenging as it could be. Despite this, though, Airbourne have never been the most prolific - generally having three year gaps between albums which are, often, very short. Most of the band's album's are under 40 minutes long - but Airbourne is the longest at around 47 minutes, with No Guts. No Glory. the only other album to breach the 40 minute mark, any bonus tracks notwithstanding. Airbourne sees the band reuniting with producer Brian Howes, who also produced Black Dog Barking, and the classic Airbourne sound is very much present and fiery here. They still sound pretty much like AC/DC, albeit a little heavier, but there is a tightness and energy to the album despite its relative length. Aside from the rhythm guitar spot, which has now changed hands a few times, the rest of the band's line-up has appeared on all of their other albums - with frontman Joel O'Keeffe, drummer Ryan O'Keeffe, and bassist Justin Street here as ever.
Airbourne is not an album that is going to change anyone's views regarding the band. Each album essentially sounds the same as the one before it, and this one is no different. If you like what the band do, though, there is plenty to like here - although at 47 minutes it is perhaps a little overlong. Airbourne operate best when they get in and get out - but given the gap between albums perhaps they wanted to give the fans more for their money. Some of the songs have been floating around online for a year or so, too, with the kick-off track Gutsy one of them. Hanging clean guitar melodies actually open the song, before a simple hi-hat beat kicks in - and the clean guitar lines turn into something more hard rocking, with the song growing in stature over the first minute or so of the song. Chugging guitar rhythms and a driving bluesy riff form the basis of the song - whilst the verses proceed in a rather stop-start manner. Joel's voice has always been powerful and full of character, and that remains the case here. His riffing generally accents his vocals, filling the gap between lyric lines, whilst the rhythm guitar and bass plod in the background. The arrangement is simple, then, but there is an energy to the riffing - and Joel's vocals always elevate any Airbourne number. Shout-along choruses are generally the order of the day here, too, and there is a powerful one here with big gang vocals and a fists-in-the-air attitude. A bluesy guitar solo from Joel is thrown in, too, and the song is a strong opening cut. Alive After Death (Last Plane Out) opens with some punchy drumming from Ryan, before a more mid-paced guitar riff, overlaid by a melodic guitar lead, forms the basis of the song. With the chugging guitar rhythms and 4/4 drumming present throughout this song, the AC/DC comparisons make total sense. Airbourne never really push the envelope, but they have become very proficient over the years. This song is perhaps not as furious as the opening number, but there is a more of a melodic strut to this one - with plenty of memorable guitar lines and a chorus that sounds a little more on the slick side. Airbourne's material often has a rawness to it, but their albums are always well-produced - and this one is no different. There is real power in the riffing here, whilst the slight sheen to the chorus adds a 1980s edge. The song is one of my favourite cuts here as a result. Here She Comes opens with some wordless vocal melodies, which form a pretty melodic opening against a simple drum groove - before a busy guitar melody, Thunderstruck style, takes over. The mid-paced groove of the previous song remains here, but there is perhaps even more of an overtly melodic feel this time. The riffing feels more strident and less scrappy though, with verses that feel made for big venues - whilst Street keeps everything locked in with his bass playing. There is more of a gang vocal focus here, especially as the chorus is approached, whilst the chorus features layers of backing vocals which are more melodic than is typical, too. It is an easy song to sing along with, then, and Joel's later guitar solo builds on the busy main guitar motif that returns throughout the song. Kid in a Candy Store returns to something a bit more scrappy and groovy, with a juddering, simple guitar riff that kicks in from the start and essentially drives the song from then on. The melodic sheen of the past couple of songs has largely been stripped away, with a heavier feel returning again. The simple AC/DC-esque rhythm section provides plenty of punch, whilst the interlocking guitars are just separated enough to be able to pick them out. This is very much just hard-driving and high-octane rock. It is not as fast as Airbourne can be, but it certainly feels more energetic than the previous two - with more of a gang vocal chorus at pace. A breakdown with some cleaner guitars acts as a brief change of pace later on.
Sky High reins in the pace again, with the band this time going for more of a bluesy strut. The guitar tone feels a bit more organic and less distorted here, but there is still plenty of crunch - whilst the drumming and simple bass playing does an awful lot to give this song its overall feel. There is certainly an early AC/DC feel to this number, when the band let their bluesy roots shine a little more, but the song still rocks hard with brash open chord riffing and the heavy stomp of the drumming. A lengthy chorus, which mixes band-led gang vocals and more melodic trade-offs is another memorable one, even if it is not as urgent as some of the other examples, whilst Joel gets to cut loose a bit more on the guitar this time with a bit more soloing than is typical. The soloing is suitably bluesy, too, which fits nicely into the song overall. Who Put the Rhythm in You? opens with a couple of big snare hits and some surprisingly clean guitar melodies. Whilst there is still an edge to the early melodies, the guitar melodies are still a bit brighter and cleaner than might be expected - and the song builds around them for a while, with swirling vocals and the band fading in. Once the song gets underway proper, though, the band have locked into another pretty typical mid-paced groove. Brash riffing and that ever-present pulse of the rhythm section ensures that the core Airbourne sound is present and correct, and it is another pretty enjoyable cut as a result. The song's chorus feels like a more energetic version of the last song's chorus. The vocal approach is quite similar, but the pace is a bit faster overall - and the riffing feels a bit heavier. The guitar solo is more typical of Joel's usual style, too, so the song returns to something more like the rest of the album. Christmas Bonus, which feels a little out of place currently in October, is another song that has been hanging around for a while. It is not the most Christmassy-sounding song, though, despite some sleigh bells early on, and, lyrics aside, it is basically just typical Airbourne. Similar to the last song, the track is high-energy and hard rocking - but perhaps even more so, building up the overall pace and heaviness again. The chorus, for a Christmas song, is high-octane and shout-along, made for playing live, whilst the lyrics are packed full of Christmas-themed innuendos. It is safe to say that it is not a song that the Grandparents would enjoy around the dinner table, but I can see the song becoming a favourite of rock and metal Christmas parties - and there is a good sense of Christmas fun throughout. It is a very catchy and energetic song, then, and the lack of any typical Christmas melodies means that it is one that can, just about, be played at any time of year. Last Man Standing pairs the pace back in again, instead laying down a slower, more deliberate groove. These mid-paced songs that Airbourne often whip up are generally full of groove and power - and this one is no different. Like some of the other similar tracks here, the song builds fairly slowly around some cleaner guitar melodies, but the classic Airbourne sound kicks in once the song starts proper. The verses feel a little different to the norm, though, as the drumming pulls back a little. There is less of a a typical 4/4 drive during the verses, with a slightly more percussive approach taken to allow the guitars to do most of the heavy lifting. The chorus is much more typical, though, with the drums crashing back in a big way and more loud gang vocals. The more deliberate nature of the song works nicely for me as a bit of a point of difference.
Rock 'n' Roll Ya opens with some lone gang vocals, laying down part of the chorus, but this intro is short lived as the band soon kick in - with another riff that is Airbourne 101. After the subtle differences found in the previous song, this one very much gets back to the band's core sound. The driving groove of the rhythm section sounds as potent as ever, with the verses snappy despite a relatively mid-paced arrangement - whilst lead guitar breaks feel a bit more prevalent here, especially after each chorus. The gang vocals of the chorus proper feel more powerful compared to the song's opening rendition, and it is another shout-along chorus that nicely sticks in the brain. A slightly lengthier guitar solo builds on the guitar leads elsewhere - with the song being another that is likely destined for the stage over the coming years. Bogota is slightly more grinding overall. A relatively busy drum intro soon gives way to a riff that feels a little heavier than is typical which, when paired with a slower pace, gives the song a little bit of a different feel. The chorus is pretty typical of the band's sound, but the song as a whole feels a bit noisier. There is little of the precise grooves and snappy riffing generally found, with a much more distorted sound - with the guitars just generally sounding noisier. It is hard to explain how the song sounds, as at its core it sounds like Airbourne, especially once the gang vocals of the chorus kick in, but the verses have a snarling dirtiness to them - wrapped up in an almost metallic 1970s riff. The guitar solo is very whammy bar heavy, too, adding to the noisy sound previously described. Hells Got No Vacancy (with its disappointed lack of apostrophe) returns to something much more typical, with some bluesy guitar playing early on, before another pretty hooky open chord riff kicks in - and the song just really rumbles along from there. Rumbling is the appropriate word, too, as Street's bass playing is pretty prevalent during the verses, with the two guitars laying down riffing and grooves above the pulsing basslines. The song is very similar to a number of other songs here, but the energy keeps it interesting - and there is another shout-along chorus that is packed full of simple, caveman hooks. The album then comes to a close with Send Me to Rock 'n' Roll Heaven, one of my favourite cuts here. The band have ended things on a strong note here, and the song pays tribute to a lot of their favourite musicians who have died. It is not a sentimental number, though, with the band's trademark hard sound present - and the song rocks out hard in tribute to many name-checked passed greats. The chorus is one of the fastest and hookiest on the album, whilst the main riff is snappy in that way that made AC/DC's best numbers really tick. There is nothing really to dislike about the song, and its energy keeps the album rocking to the last moment. There is a bit of a breakdown section included, too, which includes snippets of news reports about some of the musicians' deaths - whilst Joel's guitar solo is another pretty high-octane, bluesy affair. It is always great when an album ends on a real high, and Send Me to Rock 'n' Roll Heaven is one of Airbourne's big highlights for me. Overall, then, despite having not paid much attention to Airbourne in recent years, I have been enjoying this latest album from them since it dropped last month. It is certainly nothing original, but as far as hard-driving and high-energy rock goes it ticks a lot of boxes - even if cutting a couple of the lesser numbers would have probably allowed for a stronger overall album.
The album was released on 4th September 2026 via Spinefarm Records. Below is the band's promotional video for Alive After Death (Last Plane Out).
Those keeping up, by reading my last post here, will know that I am not long back from another weekend away in Wolverhampton. It was great to return to the Black Country city for the first time since June, when I stayed in my favourite Premier Inn before bussing it out to Bilston to catch Mostly Autumn at The Robin 2, and my first gigs there since an excellent showing from Primal Fear at KK's Steel Mill back in March. Having already taken in a masterful performance from Europe on Friday night at The Halls, a gig that showed that the Swedish band are still one of the very best in the business, I hung around in the Black Country for another day for another show - this time by Magnum at KK's Steel Mill. In truth, after seeing Magnum live last year - I was not really sure that I would get the opportunity to see them again. This is due to the nature of last year's tour, which was a short run of shows to pay tribute to the band's founder, guitarist, and songwriter Tony Clarkin, who died in 2024. The band's 2024 touring plans had already been cancelled due to Clarkin's health, but his death still came as a surprise. Frontman Bob Catley, the only other person besides Clarkin who had been in Magnum up to that point, later said that the band was done - and that he could not carry on without Clarkin. He was clearly persuaded to change his mind, though, and, with the blessing of the Clarkin family, took Magnum out on the road for a few shows last year as a tribute to Clarkin - with Clarkin's long-time tech Brendon Riley (guitar/vocals) in his place. The tour came to a close with two nights at KK's Steel Mill, as Magnum were long based in Wolverhampton and came from the West Midlands more generally, one of which I was at. At the time, Catley was unsure what the future would hold, although it was known that there would be at least one more show as the tour's Glasgow date had to be postponed due to a rare red weather warning, but activity has slowly ramped up again since. A few more shows were added around that rescheduled Glasgow date, and 2026 has seen the band busier again - with quite a few UK shows spread over the period of a few months, around some festival appearances both here and abroad. Clearly, despite the lack of Clarkin and Catley now 79, there is still demand to see Magnum live. The band have a very loyal and dedicated fanbase, and it is clear that many just want to hear the old songs live for as long as Catley is able to sing them. At the end of Saturday's show he hinted that quite a lot more was to come in 2027 - and there has even been rumours of a new album featuring songs Clarkin wrote previously that were never finished. At this point, it is just good see the band so loved by their fanbase and doing what they can - as Magnum are one of those nostalgic bands for me that have been in my life a long time. As such, when the 2026 shows were announced and the Wolverhampton show tied in with my existing plan to see Europe, staying the extra day was very much a no-brainer. Given the distance travelling up to Wolverhampton from Devon, it is always nice to be able to stay for a couple of nights if possible. Two nights in the same hotel always feels like a bit of a proper break - and it is nice to have time to wander around the city and not just rush to get some dinner before going to the show. I had a day shopping in Wolverhampton on the Saturday, then, before having a quiet couple of hours in the hotel and heading down to a busy KK's Steel Mill for the evening's entertainment. The crowd was large, but the show was not sold out as it was last year. With more shows to choose from this year, though, that was not a surprise - but the venue was still very busy with the Magnum faithful out in force.
I did not rush down the venue as the night's only support act was not due to go on stage until quite a while after the doors opened. As such, I took a slow walk down to the venue when I was ready - getting there about 15 or so minutes before the music started. The support act was Grand Slam, the short-lived band that the late Phil Lynott formed after Thin Lizzy broke up. Grand Slam only played a handful of shows in the 1980s, and did not officially release anything, with Lynott dying shortly after. Resurrected in 2018 by guitarist Laurence Archer, the current Grand Slam has little to do with the original band, save for Archer's presence, but they have now released two albums - which mix newly-written material with songs written by the original line-up. I had seen the band once before, opening for FM back in 2022, but I likely had not listened to them at all since. As such, I was surprised to essentially know the whole set - even though the band has since released their second studio album. There was one song, Spitfire, which I did not know, which is from that second album - but otherwise everything else came from the first album, and was largely made up of songs from the 1980s. 19 kicked things off, before one of the band's better new numbers Gone Are the Days showcased a Thin Lizzy vibe. Lynott's songwriting carried the Thin Lizzy spirit into Grand Slam - and Archer has ensure that it has carried forward into everything the band do now. The similarities can be a little obvious at times, but Archer is a strong enough guitarist to do them justice - whilst frontman Mike Dyer has a soulful enough voice, even if he is more of a hard rocker. Highlights for me were a powerful version of Military Man, a grooving, juggernaut of a hard rocker that Gary Moore recorded a version of in the 1980s, as well as the lengthy and more atmospheric Sisters of Mercy - a smouldering, gothic semi ballad of the like Lynott could not really have done with Thin Lizzy. Whilst Grand Slam are not that well known, even now, there is true rock lineage in many of their songs - so I was surprised that the band did not receive a better reception. There was never anything more than polite applause during their set - with even the slightly more well-known numbers not exactly whipping up much excitement. Given the size of the crowd, this was a shame - but I have often gotten the impression that quite a few of the die-hard Magnum fans care little for anything that is not Magnum. The Magnum fanbase is like Marillion's in that regard, but most still woke up for a set-closing rendition of Whiskey in the Jar, which whipped up something of a sing-a-long as Grand Slam's 45 or so minutes on stage came to a close. The setlist was:
19 [Phil Lynott cover]
Gone Are the Days
Dedication [Thin Lizzy cover]
Spitfire
Military Man [Gary Moore cover]
Crazy
Sisters of Mercy
Whiskey in the Jar [Traditional Irish folk song]
It did not seem like much time had passed before the lights went down again, and the jaunty opening synth melody of Days of No Trust was ringing around the venue as the band took to the stage - then launching into the song proper. The band did not have a support act at last year's shows, instead playing for longer over two sets - but this show was a more typical 90 minute affair. The band largely stuck to crowd favourites from the 1980s, but there were still two songs included that I had not seen them do live before - and the more recent albums also got a bit of a look in. Catley's voice has not been what it was for quite some time now, and he did not sound as strong this time as I remember him sounding last year. He still has the tone, but he sounds quite rough around the edges now - but he powered his way through the 15-song set, with all of his trademark warmth and stage moves. Dennis Ward (bass guitar/vocals) helped out a lot, harmonising regularly, whilst the band as a whole sounded nice and powerful. This was evident during the driving symphonic rock of newer cut Lost on the Road to Eternity, whilst Wild Swan allowed for some of Riley's heaviest riffing of the night. Riley has been around the band for years, but really seems to have settled into the role of guitarist now. Clarkin was always an understated player, and rarely soloed, so Riley largely just kept the riffs and melodies flowing - with Rick Benton (keyboards) generally providing the flourish. An early highlight for me was the inclusion of Run into the Shadows, the only song that has been played live from 2024's Here Comes the Rain (which I reviewed here) - Magnum's last album. I was surprised that the album was not featured on last year's tour, and Catley clearly wanted to play one of those songs for Clarkin this year - with the one chosen one of the album's best cuts. The strong chorus rang around the venue, whilst Benton's driving keyboards flashed back to the 1980s. Aside from that and one other later cut, the setlist was pretty predictable. A fairly lengthy take on How Far Jerusalem sat in the middle of the set, which did allow for Riley to cut loose a little, whilst there were later triumphant anthems on display in the form of Soldier of the Line and On a Storyteller's Night. Given how many of the setlists over the past couple of decades were often weighted in favour of newer material, I get the impression Catley is now enjoying showcasing many of the band's classic tracks. It was always great that the band were so creative, but sometimes showcasing the favourites is the way to go - especially given the situation the current line-up find themselves in. The acoustic The Tall Ships, a song that has found a home back in the set in the past few years, shows that it was not all about the 'hits', though, whilst the other surprise came in the form of the AOR drive of Midnight (You Won't Be Sleeping). A saxophone player whose name I did not catch joined the band for the song, as per the original album, and it was one of the overall highlights. There were no surprises with what followed, though, with a classic trio of All England's Eyes, Vigilante, and Kingdom of Madness rounding out the main set. Kingdom of Madness was especially powerful, with more strong riffing from Riley - as well as some busy fills from drummer Lee Morris. After this run of shows concludes, Morris will be stepping away from the band after nearly a decade - with the returning Harry James, who played with the band at some of the other shows this year, taking his place. There were plenty of cheers for more, though, and a two-song encore followed. Benton's piano melodies heralded the epic Sacred Hour, before the soaring ballad When the World Comes Down allowed for the band and crowd to sing as one - bringing a majestic 90 minutes to a close. The setlist was:
Days of No Trust
Lost on the Road to Eternity
Wild Swan
When We Were Younger
Run into the Shadows
How Far Jerusalem
Solider of the Line
The Tall Ships
On a Storyteller's Night
Midnight (You Won't Be Sleeping) All England's Eyes
Vigilante
Kingdom of Madness
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Sacred Hour
When the World Comes Down
As Magnum continue to push forward into the post-Clarkin era, I do wonder what will follow. It would be great if new material is on the horizon, whether written by Clarkin or by the current line-up in his style, but, either way, I get the impression that the band do not see themselves truly slowing down yet. As mentioned, Catley said that next year would see quite a bit of activity from the band - so it is quite likely that I will be seeing Magnum again in 2027.
Whilst September was something of a taster, now that I am back from weekend away in Wolverhampton, I feel that the autumn/winter run of gigs, taking me up until Christmas, has well and truly kicked off. This time of year is always very busy when it comes to live music, and 2026 is no exception. December is quieter than it often is, although I did just book to see Threshold and I may return to the West Midlands over the Christmas holiday to see Mostly Autumn, but October and November are both packed full of things to look forward to. My Marillion and Xandria trip a couple of weeks ago felt like something of a warm-up, then, but this past weekend felt like the start of something - and I always enjoy a trip to Wolverhampton. I have not visited as much this year as can be the case, with London really dominating instead, but trips to the Black Country never feel too far away. If I do not end up going to that aforementioned Mostly Autumn show, though, then this past weekend will be my last of the year - but I already have a handful of trips planned for next year. The reason for the trip to Wolverhampton this past weekend was twofold. My next review will cover Saturday's trip to KK's Steel Mill to take in Magnum's latest homecoming show - but this review will cover Friday's entertainment, which saw Sweden's Europe return to The Halls (as it is now called) for an early stop on their latest European tour which celebrates both the release of their new album Come This Madness and the 40th anniversary of their seminal release 1986 The Final Countdown. At one stage, it felt like I was seeing Europe annually - or, at least, every other year. The band were extremely prolific during the 2010s, with new albums coming out in pretty quick succession - meaning that tours to support them followed. Throw in a tour supporting the 30th anniversary of The Final Countdown, too, and a number of special guest-type appearances on larger bills, a Europe concert was often something that I had planned. Prior to Friday, though, I had not seen them live since 2022. That may not seem like a long time, but compared to previous gaps between shows it certainly is - and that show in 2022 saw them opening for Whitesnake and Foreigner, meaning that it was in 2018 that I last saw Europe as a headline act. I was meant to see them in 2023, though, but I was unable to make the journey due to inclement weather causing havoc with the trains. I had a ticket for a Wolverhampton show that year, too, and turned up to the station hoping things would be better than they seemed, only to be told that nothing was able to run north of Bristol due to flooding. There may have been a longer route I could have taken, but the staff did not seem confident that it would work and I did not want to get stranded somewhere with nowhere to stay. As such, I had to abandon my plans - and it was the worst one to have to abandon given that the 2023 tour was the band's big 40th anniversary tour, where they played a much longer set than normal which included a number of rarely-played deep cuts from throughout their catalogue. Thankfully I do not have to miss many shows that I get tickets for, even if the railway does its best to try and increase that number sometimes, but even with that in mind I did not get over having to miss that mammoth Europe setlist for quite some time. As such, Friday's show felt a long time coming - and it also being at The Halls was perhaps somewhat ironic. As if to show that they were on their best behaviour, too, the CrossCountry train up to Birmingham was one of the smoothest for some time, unlike today's journey home, so I was in Wolverhampton with plenty of time to spare. Given that the show was all-seated, I opted for a seat in the balcony - which I had not done before.
There were two support acts before Europe's set, with the three UK shows benefitting from an extra band. Supporting Europe throughout the tour, though, are Canada's The Damn Truth - I band I had heard of but knew nothing about. Given that they seem to play here quite regularly, and often seem associated with the up-and-coming UK rock scene in terms of touring partners, I had wrongly assumed that they were another UK band - so it was good to learn that they were from Canada. They only had half an hour to play with, but I came away having enjoyed myself. I did not know what to expect, but the band using Jefferson Airplane's White Rabbit as an intro tape was something of a clue - at least early on. There was certainly a retro vibe to the band's look and sound, especially considering how some of the members were dressed, and vocally frontwoman Lee-La Baum had a hint of Grace Slick about her - but overall the band's music was poppier and more upbeat, with a bit of a late 1960s/early 1970s stomp. They did not do anything hugely original, but the songwriting was tight and Baum was a captivating presence on stage vocally - with a few pretty hooky choruses thrown in. Musically, the band were tight but there was little flair. It was clear that the band were aiming for a poppy and accessible sound without too much fluff, although Tom Schemer (guitar/vocals) did include a few solos. These were generally short but full of melody - and some of his guitar leads were similar, adding weight behind Baum's powerful vocals. Elsewhere, gritty but not especially tough riffing did most of the heavy lifting - whilst some prominent bass lines were also quite a big part of the band's sound. There were shades of a psychedelic approach to throw back to that Jefferson Airplane reference, but these were largely kept to being within the band's core pop sheen. Half an hour flew by, though, and I will certainly need to give The Damn Truth a bit more attention going forward.
Around half an hour later, during which time I picked up a new Europe shirt to replace a 2018 one that has long been retired, the Scottish rockers Gun took to the stage - and for the next 45 minutes the five-piece did a good job of getting the crowd warmed up. I had not seen Gun since 2019, when I saw them, again in Wolverhampton, on a three-band bill with FM and the Dan Reed Network. At one point, I seemed to be running into Gun pretty regularly. I have never gone to any show specifically to see them, but I think that Friday night was my fifth time seeing them. I have never loved Gun, but I grew to like them to an extent during that period. I likely had not listened to any of their songs since 2019, though, and with a new album out since then which filled around half of the band's set I clearly have some catching up to do. That being said, I enjoyed Gun again on Friday. I have always struggled a bit with how to classify them. They seem to hang around the UK hard rock scene - but they do not look nor sound like a true hard rock act. Some of their material has a bit of a Britpop feel, although their early work realistically predated that scene - whilst there is, at times, an indie edge, too. Despite this mix of sounds, Gun have their fans - and they had some chart successes during the late 1980s and early 1990s. They are not a big act these days, but they still deliver live - and I enjoyed most of the newer songs played, which were actually a bit heavier than Gun typically are, as well as hearing some of the old favourites again after so long. Songs like Better Days are always fun to hear - and one of the new songs saw frontman Dante Gizzi whip up quite a bit of a sing-a-long. The atmosphere was excellent during Europe's set later, but there was still quite a bit of love in the room for Gun - especially as their set progressed and they pulled out some better-known cuts. Their cover of Word Up! always goes down well live, and the closing double whammy of Shame on You and Steal Your Fire had quite a few singing along. I am not sure that I will ever be a true Gun fan, but it had been seven years since I had last seen them live - and I came away from their set feeling pretty positive. Four songs from 2024's Hombres were played which, as mentioned before, largely impressed, and it felt that there was a bit more of a snarling guitar approach from Giuliano Gizzi (guitar/vocals) during those numbers, too. I feel like I should probably catch up with Gun off the back of Friday's show - as there was certainly a lot to like.
Following another half an hour or so, the lights in the venue went down for a final time - and Europe took to the stage, launching into the barrelling riff of latest single Scandinavian Eyes. It was clear from the opening number that the show was going to be something special. Firstly, it was clear that the band were just really up for the show, but also as the sound was crystal clear. In terms of a live sound mix, it may have been the best I had heard the band sound. Sometimes the keyboards can be a bit low in the mix, but Mic Michaeli's (keyboards/vocals) playing really cut through - be it his rumbling organ additions to the newer songs or synth stabs during the older cuts. With The Final Countdown album played in full during the second half of the show, the first half was largely made up of newer material. The three singles from the new album all featured, alongside some other newer favourites and some older tracks. Scandinavian Eyes proved to be a great opening number due to its fast-paced riff, but much of the first part of the set was majestic and mid-paced. The hard rock stomp of Walk the Earth followed, before the first look to the past then came with the sing-a-long chorus of Superstitious. Given the nature of the show, there was a risk of quite a few casuals being in the crowd - which would have limited the atmosphere early on. This did not seem to be the case, however, with the vibe being great from the off. Plenty seemed to know the new songs, with One on One and its big John Levén (bass guitar/vocals) intro coming next - whilst the symphonic Last Look at Eden and the Deep Purple-esque War of Kings again showcased that the band's recent past is full of great anthems. Frontman Joey Tempest was on great form vocally. He did not talk to the crowd all that much, as there was a lot of music to cram in, but he sounded as good as ever - whilst John Norum (guitar/vocals) did not play like someone who is currently recovering from a hand injury. An early highlight for me was the ballad Prisoners in Paradise - an older cut I had not seen the band do live before. Much of it was performed by just Tempest and Michaeli, but the rest of the band joined in towards the end to give the final chorus some more power. The Cult of Ignorance from the new album was also a treat, with its huge synth melody lines, and it was the last newer song played before the band transitioned into The Final Countdown. The title track was saved to the end of the set, perhaps unsurprisingly, so the album was actually kicked off by the title track's B-side On Broken Wings. The band have been playing the song live quite a bit in recent years and it acted as a nice transition between the first half of the set and the second. Clearly, then, it was time for the other two big hits from the album. It was played in sequence from Rock the Night onwards, so that song and Carrie got any casuals which may have snuck in off their feet. The former was as powerful as ever with its anthemic chorus, but it was good to hear some of the lesser-played numbers from the album again after 10 years. Danger on the Track has always been a favourite with its weighty organ backing - and the band included many members of their road crew during the song with some antics on stage. There is not really a weak song on the album, with Time Has Come the one that comes closest in my opinion, but Cherokee is always a winner - with Ian Haugland's (drums/vocals) big intro and the synth stabs from Michaeli. The pacier hard rock of On the Loose was another favourite for me, but by this point the night was coming to a close. The slightly more mournful Love Chaser brought the main album running order to a close, but of course there was still one track left - with The Final Countdown the anthem of the night for many, with everyone singing along. The song never seems to get old and, even though I prefer a lot of other songs by Europe, there is no denying it is a true live staple. The setlist was:
Scandinavian Eyes
Walk the Earth
Superstitious
One on One
Prelude
Last Look at Eden
War of Kings
Prisoners in Paradise
The Cult of Ignorance
On Broken Wings
Rock the Night
Carrie
Danger on the Track
Ninja
Cherokee
Time Has Come
Heart of Stone
On the Loose
Love Chaser
The Final Countdown
Europe always deliver live but, having not seen them for four years, Friday's show seemed extra special. The excellent live sound mix helped, and there were five songs in the set which I had not see the band do live before. Europe are still well loved here in the UK for a reason, and each time they come back they pack venues out and impress people with the depth of their catalogue. I am yet to fully digest the new album, but expect of review of it here in due course, so that is what I will be doing now over the coming months - and I hope that it is not another four years before I see the band live again.
With Black Star Riders seemingly dead in the water, especially given that they recently pulled out of a rare European tour for financial reasons, which co-headliners Tyketto are continuing with, and The Almighty still seemingly a part-time venture for brief winter tours and occasional festival appearances, Northern Ireland's Ricky Warwick's main creative outlet now seems to be his solo albums. I first became aware of him when he joined Thin Lizzy in 2010, with whom I first saw him live in 2011, and have followed him ever since - largely via Thin Lizzy offshoots Black Star Riders and then the recently reformed The Almighty. In and amongst all of those bands, all of whom I enjoy a lot and have seen many memorable live shows from, Warwick has been a busy solo artist - something which has really ramped up over the past decade or so. When Black Star Riders were putting out albums pretty regularly, something new from Warwick never seemed far away at all. It seemed that he was always recording for one of his bands - and fans of his folk and punk-infused heartfelt rock songwriting have been well-sated as a result. At this point I would not be surprised if Black Star Riders were done as a recording act, which largely leaves his solo career as his main songwriting output. There are strong rumours that The Almighty are recording something new, which I would certainly welcome, but I cannot see the Scottish band returning as a hard-touring unit again - which means that the big Warwick tours of the future are likely to only be with his solo band The Fighting Hearts. That has largely been the case of late in any case. I caught him last year at KKs Steel Mill in Wolverhampton, where he delivered a pretty lengthy and varied show that included songs from all throughout his career - albeit focusing on last year's strong Blood Ties (which I reviewed here). He is also going on quite another lengthy solo tour later this year, but sadly I will not be attending this time. I would have liked to, but my October and November this year are pretty busy - and squeezing Warwick in again was just not possible this time. This is a shame, as I have seen him live as a full-band solo act twice now and really enjoyed both shows. Last year's Wolverhampton show was especially memorable - and I have no doubt that his upcoming tour will be similarly memorable for those that attend. The shows are likely to be different, too, as earlier this month Warwick dropped his latest solo album Fire & Vengeance. Given that Blood Ties only came out last year, albeit early on in the year, Fire & Vengeance has come quickly even by Warwick's standards. It is his eighth solo album of original material, and essentially follows on the brand of folky and punky hard rock that he started writing again on 2014's When Patsy Cline Was Crazy (and Guy Mitchell Sang the Blues). The same year's Hearts on Trees and the solo albums that preceded them were much folkier and stripped back, but Warwick has rocked harder as a solo act over the past decade or so - and that has been welcome, as I think that he excels in such an environment. As has been the case of late, too, Fire & Vengeance is largely a collaboration between him and Keith Nelson (Buckcherry). The duo wrote all of the songs together here, produced the album, and played the vast majority of the instruments. Keith's brother Michael Nelson was the other main performer here, as he played the drums throughout, but, as is often the case on Warwick's albums, there are also a few guests here to add some magic to a few numbers.
Those who have been keeping up with Warwick's work of late will instantly feel at home with Fire & Vengeance. There is nothing here that especially breaks the mould, but the songwriting is strong - and Warwick's attitude permeates the 10 songs here as it always does. This is a pretty short album, too, at just over the half an hour mark - meaning that nothing ever overstays its welcome and the album pretty much flies by. Opening with its title track, the album puts a strong foot forward. The opening folky guitar lead would have easily felt at home on a Black Star Riders album, before the song settles into a mid-paced shuffling groove. Laid back drumming, kinetic guitar rhythms, and guitar leads thrown in here and there create velvety verses that are pretty memorable from the off. Warwick can rock out when he wants to, as The Almighty can attest, but there is generally a more soulful approach to his solo material - despite plenty of hard rock tropes. His vocals throughout this song are quite smooth, then, whilst wordless melodies during the chorus create something of an anthemic feel - even if the song overall remains fairly laid back. The chorus is hooky regardless, and the song as a whole is memorable thanks to an ever-present groove and swing. This is exemplified later via a bass-led instrumental bridge section, which builds around some loose guitar chords, whilst folky guitar leads and storytelling lyrics tie everything together nicely. Hellbent & Heaven Sent is a bit more of an overt hard rocker, with some trashy power chords opening things up over which Warwick sings in a punkier manner. In fact, this is a song where the punk side of his songwriting is often on show - especially during the verses. The chorus is a bit more classic rock thanks to some guitar leads and more of a restrained pace, but the verses here are faster and packed full of energy - with a strong bass presence and some percussive drumming at times. Doug Aldrich (Lion; Hurricane; Bad Moon Rising; Burning Rain; Dio; Whitesnake; The Dead Daisies) adds his guitar talents to the song. The fiery guitar leads and solos throughout are surely from him - with his high-octane, shredded bluesy approach as recognisable as ever. Warwick's solo albums are not usually packed full of guitar soloing nor instrumental showboating - but he does like to invite a few friends along to help out, and Aldrich's furious soloing helps the song's existing energy to be pushed further. I can see the song becoming a bit of a favourite on the upcoming tour due to its high-energy vibe. Seek Zen Destroy feels a little different, with a strong 1980s vibe - and a funky undertone which is not something I would usually equate with Warwick's songwriting. Built around a powerful bass riff, the song has a strong, danceable groove throughout - which is accentuated by some jangly and hooky guitar chords. There is a bit of a new wave feel to the song's overall construction, but there remains weight thanks to some more convention rock rhythm guitar - and the gritty vocals of Warwick. Phil Collen (Girl; Def Leppard; Manraze) guests on this song, adding some lead guitar moments throughout - as well as likely the higher-pitched 1980s-style backing vocals utilised at times. There are no Def Leppard vibes here really, but some of the backing vocal arrangements are out of that school - whilst Collen's lead guitar moments are tightly controlled and tasteful as would be expected from him at this point. His proper solo later on, whilst busy, feels fluid and melodic - contrasting with Aldrich's approach on the previous number. Two different solos for two different songs - with Warwick making the most of his contacts.
When the King Falls, after three pretty strong opening cuts, feels a little less interesting in my opinion. Built around some acoustic guitar melodies and big strummed chords, the song is quite folky and ballad-like from the off - with delicate, warm vocals and a subtle drum backing. Charlie Starr (Blackberry Smoke) adds some guitar and backing vocals to the song - but in truth I am not sure what he really brings. Starr is a great musician and songwriter, but I do not think that this song makes the best use of his talents. His voice does bulk out the chorus somewhat, with his mournful, country twang different to Warwick's approach, but the guitar playing throughout is fairly tame - despite a few nice country-esque guitar leads. A bit more of his trademark southern rock guitar firepower might have elevated this song further - but, as things stand, the song is a little on the bland side in my opinion. You Just Lie gets back to more of a harder rock sound, with a decent riff laying down an early groove - over which a melodic guitar leads is laid. Despite the song's intro, though, it is not a typical mid-paced Warwick rocker. There are certainly moments of that, especially during a decent chorus, but there are a couple of experiments here sound-wise. The verses, especially the first verse, feel a bit more synth driven. This does not mean the song is drenched in keyboards, but there is some kind of sequenced synth groove that constantly sits in the background of the verses - with Warwick's vocals sounding somewhat distant, too. It is a bit of a strange approach, especially given Warwick's largely no-nonsense attitude, but an experiment here and there is often welcome - and the synths have quite a retro sound that allows them to fit in pretty well. There is enough guitar weight elsewhere, as well as the aforementioned chorus, to keep the song interesting in any case. The Angels' Share is very much a quintessential Warwick solo number at this point. Ever-present acoustic guitar chords back Warwick's heartfelt lyrics, whilst a heartland rock approach with organic guitar rhythms and a tight rhythm section flesh things out - and gentle keyboards provide a halo around everything. Warwick certainly likes Bruce Springsteen and songs like this have shades of the latter's approach at times - with the fairly simple, yet layered, arrangement and subtle leads and melodies that often say more than complex instrumental passages. There is a rock drive to the track, but there is little genuine hard rock this time - with folky and singer-songwriter vibes instead shining through, even if the latter part of the song is a bit more lead guitar-heavy than the rest. Last Chance to Dance picks up the pace again, getting back to more of an energetic hard rock approach. This is another song that would have sounded at home on a Black Star Riders album, with harmony guitar leads kicking things off and a strong Thin Lizzy-esque groove throughout. This sound is so engrained in Warwick's songwriting at this point that a few numbers in this vein are to be expected - and I always enjoy hearing him operating in such a way. Some of the guitar riffing in this song represents the album's best in my view, whilst there are also some pretty exciting drum breaks, too. Elsewhere, more storytelling vocals, plentiful guitar leads, and a pretty hooky chorus all add up to form one of the album's overall highlights in my opinion. The guitar solo later on is pretty great, too, utilising some wah effects to add to that Thin Lizzy sound that permeates the whole number.
Sweet County Down is an extremely folky number, and a song that certainly taps into Warwick's Irish heritage. He has written songs in this jaunty, folky manner before - and, whilst this style is not my favourite, hearing the occasional song in this vein from him is welcome. The album's final guest in the form of Darren Holden (The High Kings) appears here, who adds some trademark folky harmony vocals throughout - especially during the pretty memorable chorus. Acoustic instruments largely dominate here, with shuffling acoustic guitars and percussive drumming the main focus - but a banjo is also utilised throughout the pick out some more folky melodies, whilst organ gives the song a retro blanket. Songs like this often feel inherently fun, and there is certainly an energy conjured up here despite the acoustic base of the track. Some electric guitar leads are thrown in towards the end to add a little extra fire, but overall the song is organic and full of Irish charm. Tumbleweed Town feels a bit darker, with an off-kilter drum groove that backs a juddering and slightly strange guitar riff - whilst more retro synths somewhat sparkle around in the background. As such, there are some similarities with You Just Lie here, especially during the verses - but the chorus is another pretty blatant Black Star Riders-esque moment. There is quite a bit going on here, then, with two sides of Warwick's songwriting converging. Despite this, though, there is more of an overt rock sound present here than there was during You Just Lie - largely via how the chorus explodes from the slightly strange verses which, again, feature some quite distant-sounding vocals. A strong guitar solo is thrown in towards the end, too, capping off another strong effort. The album then comes to a close with If You Think Your Country Needs You..., a song that opens with some quite tough riffing - before things morph into a slightly more cinematic arrangement. Whilst not a true ballad, the verses here are on the slow side - utilising thrashing guitar chords and deliberate drumming, whilst Warwick's vocals feel very prominent in the mix as the sound has a widescreen effect in the background. Slightly more time than usual is given over to instrumental moments here and there is quite a lengthy and emotive guitar solo early on - which is likely the album's longest such example. The expansive opening riff returns throughout for a chorus, whilst the whole song has quite a lumbering feel - even when the toughness of the rhythm guitars drop away somewhat. There is just something heavy in an atmospheric sense throughout the number - with the mixture of vocal approaches from Warwick aiding that feel. At times he sounds sombre and quite restrained, before he cuts loose elsewhere with a heroic and anthemic approach. The song is quite a powerful and heartfelt number, then, and it is a big longer than average for this album - making it stand out somewhat. It is the sort of song that feels like a proper album closer - and after a number of snappier tracks, this lengthier effort works well to bring everything to a stop. Warwick is one of those dependable names at this point that is generally associated with quality, and this latest solo album is another strong example of his identifiable style and strong songwriting skills. There is some variety and experimentation here despite a recognisable core sound being retained, and those that have been following his career since the late 1980s will certainly find something to like on this latest solo platter.
The album was released on 4th September 2026 via Earache Records. Below is Warwick's promotional video for Fire & Vengeance.
