Airbourne's 'Airbourne' - Album Review

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).

Magnum - Wolverhampton Review

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

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

-

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.

Europe - Wolverhampton Review

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.

Ricky Warwick's 'Fire & Vengeance' - Album Review

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.

Flotsam and Jetsam's 'Rats in the Temple' - Album Review

It feels like a little while since I last reviewed a new thrash album on this blog. July was quite thrashy in terms of concerts, as I saw Metallica twice and Vio-lence, but I have not picked up too much new thrash yet in 2026 - and today I am going to cover a thrash band that has never been covered here before. I would generally consider myself a thrash fan, but I certainly do not keep up with every name in the genre and, for some reason, the Phoenix-based Flotsam and Jetsam had largely eluded me until recently. All that I really knew about them were that they were the band that Jason Newsted was a part of before he left to join Metallica - but I did not know much about their music at all. I was also aware that quite a few thrash fans considered their recent run of albums to be some of the strongest and most consistent in the scene. I had been meaning to check them out for quite some time as a result - but I did not get around to doing so until earlier this year. When I saw that the band would be releasing their sixteenth studio album this year, I decided that it would likely be a good way in - but I picked up a few of their other albums to sample beforehand. Whilst my sample size is only small, I so far agree with those who think that the band's recent albums are very strong and consistent. 2024's I Am the Weapon was my first proper exposure to Flotsam and Jetsam, and I was pretty interested from the off. Whilst they are certainly a thrash band, I also felt that the album had quite a strong US power metal feel at times - with the occasional Iced Earth and early Savatage vibe mixed in with a more typical, albeit very melodic, thrash sound. 2021's Blood in the Water was similar - but I am yet to venture further back. Both of those albums, the first two with the band's current line-up, impressed - but, for whatever reason, I was not that taken with 1986's Doomsday for the Deceiver, the band's debut album. I am under the impression that Doomsday for the Deceiver is often considered something of a thrash classic, but it, so far at least, has not done all that much for me. It felt more typically thrash, with not a particularly punchy production, than the band's newer work - with none of the choruses that drew me into to the newer stuff. Perhaps in time, and with further exploration, I will come to like the band's more classic work - but I know that I certainly like what I have heard of what has come recently, so I may well slowly work my way backwards through their lengthy catalogue. Despite a number of line-up changes over the years, with frontman Eric Knutson the only person to appear on all of the band's albums, Flotsam and Jetsam have been very prolific over the years - generally releasing a new album every two or three years. I get the impression that their sound has shifted over the years, too, more so than the difference between the early days and now, and this is likely down to the various line-up changes, as well as an attempt to stay relevant through changing times. Guitarist Michael Gilbert has been on all but four of the band's albums during the late 1990s and 2000s, so is the main long-time driving force alongside Knutson - but the current line-up has now produced three excellent albums, with Rats in the Temple having dropped last month. Guitarist Steve Conley, bassist Bill Bodily, and drummer Ken Mary join Knutson and Gilbert again here - which has been the band's line-up since Bodily joined in 2020. Sound-wise, Rats in the Temple is similar the other recent efforts that I have heard - with a strong, melodic thrash sound that, at times, dabbles in more of an old-school US power metal sound with plenty of hooks.

This is the band's first album for a while to feature more specific writing credits - and it seems that each of the 13 songs largely came from one of the two guitarists, with Knutson and Mary then working with them to bring that song to life. Knutson and Mary do not have writing credits on every song, but that looks to have been the arrangement here. The guitarist who wrote the song also seems to be the one to solo in it, too, so the album seems to be very much split between Gilbert-driven and Conley-driven material. A Conley idea gets things underway, then, with Harvesting the Hate kicking the album off. A percussive main riff builds around some busy drumming, whilst gothic strings blare away in the background, but once Mary stays to lay down a more typical thrash drum beat the song morphs into a fast-paced number - with slow chord changes and plenty of energy. The riffing becomes crunchier when Knutson starts to sing, with subtle guitar leads sitting underneath his voice to add to the overall energy. Knutson's voice is still full of power. He has a fairy clean and epic delivery compared to many thrash singers, which is possibly, in part, where the US power metal vibes stem from, but he can still deliver moments of real grit. The pre-chorus here feels pretty tough, with a harsher vocal delivery, before something more clean and soaring is used for the fast-paced chorus. Many of the choruses here have a real anthemic feel to them, despite the pace, and this one is no different. It is very easy to sing along with, ensuring the band's accessible nature remains, whilst Conley's two-part guitar solo is varied and melodic. Damnation opens in a similar manner to the previous song, albeit the percussive drumming is a little slower - and Knutson lays some wordless, heroic vocals over the top. It does seem from this intro that the song may be something more mid-paced, but once the main riff kicks in and the chorus speeds off it is clear that the song is still pretty fast - although there is more crunch this time. There are slower moments, such as a headbanging and groovier chorus, but the verses are still full of energy - even if they feel heavier and a little slower than the previous song. There is definitely something Iced Earth-esque in the crunchy chorus, with it wordless vocal accents and snappy melodies, whilst the riffing through is much more melodic and interesting than most thrash pace-setters. Absolution returns to the faster vibes of the opening number, and the Gilbert-led song does not stand on ceremony like the others here so far - instead kicking straight in with a short riff before Knutson starts to sing. The riffing here is perhaps a bit less intricate, with hard-hitting thrash patterns and 1980s drum grooves filling the speakers. The verses have some neck-breaking, stop-start riffing, whilst the chorus, despite its speed, is filled with NWOBHM-esque vocal melodies - ensuring that the whole thing has more of an old-school feel. Given that he is essentially one of the band's original members, at least in terms of having appeared on Doomsday for the Deceiver, Gilbert is a thrash scene original - so it is to be expected that his songs are more routed in that time and its core influences. Blame the Knife opens with some stop-start riffing and some discordant clean guitar melodies, soon launching into verses which see the stop-start vibe continuing - with Mary's drums left at times to lead the way. Arrangement-wise, then, this song is a bit different to the norm, but the song's overall structure is still pretty typical - with plenty of thrash trademarks, including furious double bass drumming, and one of the album's strongest choruses. The shout-along chorus is very easy to get on board with - and I can see the song becoming something of a live staple going forward.

The gothic strings return to introduce the title track, before a massive drum fill transitions to the thrashy opening riff - with the song being another pretty high-octane speed merchant. Despite the chunky riffing and relentless drumming, though, there is quite a lot going on guitar-wise here. There is an early shredded solo from Gilbert to set the tone, whilst there are some twin guitar leads utilised occasionally - adding some old-school metal harmonies where required. Lead guitar moments are abound, then, whilst the strings are kept during choice moments to add depth and create a dense, power metal feel behind the thrashy riffing. Another snappy chorus ensures that the song remains hooky throughout - and the title track is a great mix of speed and old-school metal melody. The Ghost Behind My Door maintains some of the harmony guitar leads from the previous song, opening with some Iron Maiden-on-speed melodies - which are retained in the background even when Knutson starts to sing. Despite the speed of much of the song, the arrangement here is a bit more dynamic. Percussive drumming backs some of the early guitar leads, whilst the verse is almost as pure as thrash can be - in terms of riffing and drumming. To ensure that some variety remains, though, the chorus slows the pace somewhat - going for a crunchier and more melodic feel. This chorus is perhaps not as anthemic as some of the other examples here, but the slower riffing is welcome - and Knutson delivers a strong, characterful vocal. First on the Spike is a bit more crunchy throughout. Whilst still an energetic piece, it does not feel as fast nor as thrashy as many of the other songs here - and this is a song where that US power metal sound shines somewhat. There are moments of early Savatage here at times, albeit bigger and more modern sounding - with occasional strings again adding depth, whilst Knutson utilises a more overtly melodic vocal style at times, especially during a particularly soaring pre-chorus section. There is something anthemic about the whole song, with a strong 1980s feel, which is included in Conley's lengthy solo, too. The Edge of Nowhere opens in slower manner, with Eastern-tinged guitar leads and more of a bass presence, but the song does not go down a more mid-paced path - with the intro soon giving way to a pretty typical thrash riff and verse. There is a pleasing, bouncy feel that the main riff gives off, though, which sits nicely behind Knutson's verse vocals - but in terms of an anthemic chorus this is a song which is somewhat lacking. The melodies and the approach of the intro is never really returned to, either. It would have been interesting to have incorporated the Eastern melodies of the intro into the bulk of the song somehow - which would have given the song something of a USP that it is currently lacking. It is probably one of the weaker songs here overall, despite some strong riffing. Last Rites is somewhat similar, although the atmospheric intro this time is brief - with another Mary drum fill bridging the gap between it and the main song. This song is much more anthemic, though, and the riffing generally is more melodic. There are some melodic twin guitar leads early on built into the riffs, whilst the verses really drive along with an infectious pace and some great vocals from Knutson. There is a smoothness despite the pace and energy, whilst the grit really returns for a chorus that is packed with shout-along hooks - and a later drum and bass-led version only showcases the hooks further.

A Taste for War is a bit more of a deliberate song - which builds slowly from a bit more of a crunchy base. Built around a percussive, round-the-kit beat from Mary, the mid-paced number is the first real such example here - and, overall, the song is likely one of the album's most dynamic. Bodily's bass rarely shines on this album, as he is not that high in the mix, but there are moments here where he does get to stand out a bit more - laying down a main groove alongside the drums whilst clean guitar melodies allow for an atmospheric base. The verses move back and forth between these percussive, more mid-paced moments and crunchier, mid-paced metal sections - with groove and a 1980s strut to many of the bigger riffs here. The relatively slower pace of the song is welcome in a sea of largely faster numbers here - whilst Gilbert's solo is similarly more restrained, allowing for some long-held notes and bluesier melodies. Her Blood Your Pain returns to something more typical of the album's core sound, although a strong 1980s vibe is retained thanks to the ever-present harmony guitar leads throughout. The verses are built around some of these harmonies, which nicely back Knutson's vocals, and there is an instrumental bit that kicks in after each chorus to focus more on the guitar playing. As such, the verses are not as heavy as some of the others here - but the chorus returns to something heavier with some hard driving riffing and a bit more of an overt pace. The chorus is pretty anthemic, too, and there are plenty of hooks throughout the song thanks to both Knutson's excellent vocals and the guitar lines. Anthem for the Broken is somewhat similar, but there is more of a toughness throughout. Whilst the guitars are relatively as busy, there is less of a focus on twin guitar leads this time. As such, whilst there are lots of guitar leads throughout, there is also more of a tough rhythm guitar presence, allowing for plenty of crunch as well as melody. As such, this track feels heavier than the previous one - even if the overall melodic approach is largely the same. The chorus is less anthemic, but it is perhaps more overtly melodic, though, to fit in with the song's overall approach. There is a lot to sing along with here as a result, with the song being a strong, melodic track sitting nicely towards the end of the album. The album then comes to a close with Not Goin' Down That Way, another somewhat more dynamic piece. Whilst perhaps not as varied as A Taste for War, there are still moments here that focus on more of a clean guitar approach - with some of the core thrash elements reined in somewhat. There are mid-paced moments again here, whilst the riffing overall is much crunchier overall - allowing for headbanging grooves and more of a classic heavy metal approach, whilst the chorus is another with a strong US power metal vibe. There is plenty of melody throughout, despite the crunch, and it is always great when a band ends an album with a strong and memorable cut. Gilbert's shredded solo is busy, too, whilst he also uses a few more melodic leads throughout to good effect. It ends the album on a high, with Rats in the Temple showing that Flotsam and Jetsam certainly are show no signs of wanting to slow down. Most of the songs here are very memorable, and the production throughout is great - with the band sounding heavy without feeling too mechanical. I am glad to have finally made an effort with this band, and I am looking forward to listening to more of the band's albums in due course.

The album was released on 28th August 2026 via Napalm Records. Below is the band's promotional video for Rats in the Temple.

Triosphere's 'Oceans Above, Stars Below' - Album Review

Whilst I imagine that what I choose to review here is pretty obvious to regular readers, occasionally something new drops that I was not really planning to check out - but end up doing so anyway. Sometimes I really could do with giving myself more of a break, given that my day job can often involve a lot of writing, but I have become pretty committed to talking about music - and I cannot see that drive dying down any time soon. Whilst me reviewing the latest album from the Norwegian power metal band Triosphere might seem sensible in principle - in truth, I have not really been much of a fan of the band until recently. I remember seeing them live back in 2011, when I saw them opening for Sonata Arctica in Wolverhampton. I do not remember having much of a strong view either way regarding their set - but this was likely due to that night being the one where I discovered the Italian band Labyrinth. Sometimes there is only room for one discovery per night, and I think that I was still on a bit of a Labyrinth high during Triosphere's set. As such, I do not remember much about it - and I was never really inclined to check them out properly afterwards. Over the years, too, it has been clear that the band are just not all that active. I do not know much about the band's history, but online sources suggest that they date back to 2004 - and last month they released their fourth studio album. When I saw them in 2011, they had two albums: 2006's Onwards and 2010's The Road Less Travelled. I remember there being some hype around 2014's The Heart of the Matter when it released, as the fans had been waiting four years for it, but that gap paled in comparison to what followed - with the gap between The Heart of the Matter and the band's latest opus Oceans Above, Stars Below being a lengthy 12 years. I do not know enough about the inner workings of the band to know why album number four took 12 years to come out. I get the impression that the band are generally known for taking their time to do anything, and are not a regular touring act either, so they have something of a mythical quality due to their long periods of inactivity. Another thing that I have noticed about the band over the years is that people rarely have anything negative to say about them. They might not be one of the big names in power metal - but essentially every review that I have ever read of one of their albums has been hugely positive, often bordering on being sycophantically so. As such, Triosphere have often intrigued me. I certainly did not not enjoy seeing them live back in 2011, but I cannot say that I was blown away either - so I always wondered what it was that generated such blind loyalty, particularly given how long the fans often have had to wait for anything from the band. In truth, having now heard all of the band's albums with the exception of Onwards, I am still not sure quite what all the fuss is about. I have certainly enjoyed my time with Triosphere over recent months - but I have not found delving into their short catalogue to be life-changing. Their gritty, heavier take on traditional European power metal is certainly pleasing, and frontwoman Ida Haukland has a great voice, but nothing the band do is especially unique - in my opinion anyway. That being said, I have enjoyed my time with Oceans Above, Stars Below. The songwriting is solid, the album is well-produced, and Haukland probably ups the overall quality single-handedly with her vocal performance. Despite him having been in the band since 2014, it is the first album with drummer Kenneth Tårneby (Course of Fate; Clone Industry) - who joins Haukland and guitar duo Marius Silver Bergesen and Tor Ole Byberg throughout.

Keyboards are handled on a session basis throughout by Espen Warankov Godø (Lumsk), but his playing is not a huge part of Oceans Above, Stars Below's sound. This album is very much a grittier power metal effort - although the keyboards do add something of a grandness to the overall sound. The 12-track album opens and closes with instrumentals, meaning that there are 10 'proper' songs here for power metal fans to enjoy. The fairly short Premonition kicks things off, with clean guitar melodies, occasional power chords, and dense strings. Whilst not as symphonic as some kick-off tracks, Premonition is certainly of a type - although a pretty aching guitar lead later takes over as the band move towards Of Tyrants. Of Tyrants follows this opening instrumental, immediately upping the pace with a pretty fast-paced riff - with some of the song's early moments feeling quite thrashy. There is certainly a classic speed metal influence in Triosphere's sound, which helps that heavier vibe to settle in - and this is on show during the first verse here, which is propelled by weighty double bass drumming, subtle gang vocals, and tough riffing. There is plenty of true metal energy throughout the verses here, then, with later verses following a similar path - whilst the chorus slows the pace a little, going for a more epic overall sound. Haukland's voice may be the best thing about Triosphere. She certainly sits at the grittier end of female metal singers - but there is still plenty of melody in her relatively deep delivery, as this song's chorus can attest. There is more of a change of pace later on, too, when a bridge section sees the heaviness drop away - returning to a clean guitar base over which a slow-burning guitar solo is laid. This dynamic approach is welcome, but the song soon builds back up to something faster-paced - with the solo also upping the pace. I got the impression that Byberg was mostly a rhythm player, but he does some of the solos here - with him and Bergesen feeling more like a true guitar duo than before. The album's title track follows, and it opens in a much more melodic manner with some precise guitar leads. Overall, the song feels much less heavy than the previous number - with more of a smooth power metal sound, albeit grounded by snappy verses and the grit of Haukland's vocal delivery. The verses are the fastest thing here, as the song overall feels a bit more mid-paced and varied. There is less of a focus on double bass drumming here, whilst the keyboards take on a bit more of a role during a somewhat more cinematic verse - with clean guitar melodies adding further depth. The vocal melodies in the chorus are a bit more off-kilter which gives the song a unique feel - whilst Bergesen, who is still the dominant lead player, later takes a lengthy solo. When considering the mix of light and shade, Haukland's excellent vocals, and the guitar solo showcase, songs like this do start to make me realise why some hold this band is such high regard. Monster's Ball, which was one of the songs I heard online before the album dropped, is more of a mid-paced cruncher. There are Judas Priest-esque riffs throughout, but the overall sound is smoother - culminating in a fast-paced chorus. This song is the inverse of the classic power metal arrangement, then. This is because the verses feel a bit more reined in pace-wise, with a mix of groovier drumming and double bass segments, whilst the chorus is more all-out in terms of pace. As such, everything feels like it is accelerating towards the chorus - which is one of the album's most memorable in my opinion. This song is certainly one of the ones here that has stuck with me - and that is largely thanks to its speed metal chorus.

Through the Phantom Wall feels a bit heavier initially despite a mid-paced arrangement. The early guitar lines, which are more chord-based than riffs, have a slightly discordant feel that brings black metal to mind. This song is certainly not black metal, but some of the strange harmonics and guitar patterns have shades of such an approach - whilst later guitar riffing is a bit more note-based, with fast-moving single note patterns creating a juddering, percussive feel. There are snappy instrumental moments which are similar, too, with military-like snare hits and big guitar stabs, whilst the chorus has a relative smoothness to it. Overall, then, the song is a bit all over the place style-wise. More extreme metal tropes and a more of a classic power metal feeling sit side by side - with the chorus perhaps being another of the album's best moments. There is another lengthy guitar solo section, too, with both Bergesen and Byberg trading shredded licks back and forth. Shorelines ups the pace, immediately lunching into a pretty hooky power metal guitar melody - which is soon harmonised with Thin Lizzy-style. There is a bouncy vibe to the song's opening, then, and the overall song certainly reins in some of the heaviness of the previous song. There is a smoothness overall that sets the song apart from much of the rest of the album - with a harder rock mid-paced feel during the verses, before soaring melodic rock vocal melodies grace a chorus that ups the pace somewhat. This is another song where the keyboards take on a bit more of a bigger role - especially during the chorus. There is a sweeping feel to parts of the song as a result - and it is a bit of an overall highlight as a result. Lightning in a Bottle picks up the pace again, with some percussive, round-the-kit drumming early on settling in on a pretty up-tempo groove. This allows for a good mix of chugging guitar riffing and fleet-fingered shredding before the song even gets going, with the bulk of the song retaining this somewhat higher-octane feel. There are some moments with slab-like riffing that feel a little more mid-paced, but overall this is a pretty energetic number - with Tårneby laying down quite a few different, interesting, faster drum beats. The chorus is probably not as a strong as it could be, though. The energy of the chorus is good, but I do not find the vocal melodies to be that pleasing nor hooky. Something more anthemic would have maybe worked better here, rather than the speed metal approach taken. The chorus just feels a little rushed in my opinion, and something more hooky would have elevated the song further. Encore slows the pace down, and acts as the album's only true ballad. Delicate clean guitar melodies set a gentle and slower tone early on, over which Haukland soon starts to sing. This song does allow her to sing a different manner. She sings in a bit of a higher register here, with less of the grit and power that she is known for. She does not exactly sound ethereal here, but she certainly sounds sweeter than is typical. Generally her vocals are the focus, with the clean guitar melodies backing her up - whilst strings and keyboards swirl around, creating quite a dense backing. There is a heaviness created by the denseness of the strings, but there is no real metal here at all - even during moments where it feels like the band would kick in. Given that there is a general lack of slower songs here, this stripped back ballad is certainly welcome - and it sits nicely in the overall flow of the album.

Embers gets back to something much more typical of the core Triosphere sound, with a mid-paced, crunchy power metal track. Like most of the album, though, there are strong doses of both traditional heavy metal and speed metal here. The early parts of each verse are very old-school metal, with crunchy power chords and a classic rock strut, but the song does pick up the pace as the verses move along - with a swinging double bass drum groove acting as something of a later pre-chorus. This is another song that builds meaningfully towards its chorus, then, but I actually feel that the pre-chorus is a little stronger than the chorus. That is because this is another song with a chorus that is a bit of a disappointment. It really speeds away, which is unlike much of the song, so, again, something more overtly anthemic may have worked better - rather than returning to a speed metal approach. Orpheus' Bane ups the overall quality, though, with the song perhaps being the album's most epic statement. The main riff is hooky whilst still sounding quite heavy - and the hard-driving pace created by the ever-present double bass drumming is infectious. Despite all of this, though, there is still plenty of melody. For me, this band is at their best when they straddle the line between heaviness and melody perfectly. This song does that, and there is a great, dynamic approach taken throughout - with faster verses, a groovier pre-chorus, and, finally, another chorus that feels suitably epic. The slowed pace during the chorus allows Haukland's excellent vocal melodies to shine - and it perfectly follows the heavier pre-chorus which does include some snappier melodies. The constant variation works well, then, and there is even a percussive bridge section later with some guitar harmonics - which leads into the only guitar solo on the album that Byberg does alone. It is his showcase moment, then, and it caps off what is one of the best cuts here nicely. Cadence of Chaos is the longest song here at just under six minutes, and it is also the last of the vocal numbers. It is another song that is going for more of an epic feel overall, and it certainly builds on the previous number somewhat. Overall, I think that I prefer Orpheus' Bane, but there is still a lot to like about the somewhat similar Cadence of Chaos - including another really strong pre-chorus. For some reason, Triosphere really seem to excel at writing rousing pre-choruses - but then do not always seem to be able to follow them up with equally strong choruses. The one here is better than some of the previous examples - but the one in Orpheus' Bane is stronger in my opinion. The guitar solo section here is great, though, with both guitarists taking fairly lengthy solos - sometimes against a really fast double bass drum pattern that is another moment that briefly recalls a more extreme metal sound. There is still a lot to like about the song, then, even if I feel that it is somewhat upstaged by the one before it. Gjenklang is the final number here, with the slow-burning instrumental largely a collaboration between pianist Arild Følstad and cellist Kjell Magne Robak. The song is written by the band, but it does not seem to feature them at all - with the two quoted instrumentalists seemingly doing everything. The song is basically a piece of classical music, and there are some music motifs which have been heard throughout the album reused here. Triosphere have done something similar before, closing the album with something of the opposite of an overture. It works well, and the album ends strongly. As I said earlier, I have been enjoying this album and I have also enjoyed properly listening to Triosphere. I still do not quite get why some put this band on such a high pedestal, but this album is a worthy addition to any power metal collection - and perhaps, in 12 years, I will review album number five.

The album was released on 28th August 2026 via Frontiers Records. Below is the band's promotional video for Oceans Above, Stars Below.

Xandria - Birmingham Review

This past weekend was another pretty lengthy one, including plenty of travelling, problems on the railway, and live music. My last post here covered an excellent Friday night spent in Bristol in the company of Marillion - one of my very favourite bands. Marillion concerts always feels like special events, and Friday was no different, and it was great seeing the band again - even if it was Marillion show number 13 for me! Whatever was going to follow Marillion was likely to struggle in comparison - and the task fell to the German symphonic metal act Xandria, who kicked off their latest, lengthy European tour last week with a run of UK shows. In support of their strong new album Eclipse (which I reviewed here), Xandria's tour is likely one of the longest they have done for a while - at least as a headline act. I have been following the band since around 2012 but, before Saturday, had only seen them live once before - which was back in 2023 when I saw them opening for Delain in London. That show is one that really lives in the memory - with both Delain and Xandria delivering excellent performances. Both bands at the time had recently undergone pretty significant line-up changes, with both of those line-ups still finding their feet after recently releasing new albums. Both of the break-ups which led to the line-up changes seemed quite fraught, too, so there was certainly a strong vibe of 'please still like us' coming from the stage that night. Three years on, though, the current era of Xandria is now going strong - and with plenty of shows under their belts, plus a second album, so any drama seems long behind them. There has been some changes, though, with band leader Marco Heubaum switching from guitar to bass guitar, at least live, and the band operating as a four-piece, but the current era, fronted by Ambre Vourvahis feels well-entrenched at this point - despite the many eras which have already passed in Xandria's history. Whilst the band are not one of my favourites, I would consider myself quite a big fan - so it is perhaps a surprise that Saturday's show was my first time seeing them as a headline act. They have been pretty regular visitors to the UK over the years - but, for whatever reason, I just never made the effort. I remember that they returned to the UK later in 2023 for a few headline shows, with Skarlett Riot in support, which I was certainly interested in - but sadly any plan to get to one of those shows just did not work. As such, when the band's current tour was announced earlier this year, I knew that I had to try again - and the Birmingham show tied in nicely with the Marillion show that I already had booked. The venue, the O2 Institute 2, is one that I like - but it is not one that I had visited too often. I have never really liked the main room upstairs, but this smaller room has always led to enjoyable experiences - and it has symphonic and power metal pedigree for me as I saw both Edguy and Delain there many years ago. It had been a few years since I visited the venue, though, with a 2022 show by The Quireboys, from memory, my last time there. I will be seeing Haken there early next year, which I am looking forward to, so it will not be such a long wait before my next trip into Digbeth. As such, then, it was from Bristol to Birmingham that I journeyed on Saturday - although the train journey was not as straight forward as it should have been. Nothing was running through Cheltenham Spa due to signalling issues - so I ended up having to travel via Reading, turning an 80 or so minute journey into one that took over three hours. I left much earlier than I had planned to, though, so I ended up in Birmingham around the same time as was originally planned - only to learn that the train I was supposed to have taken was one of the first to travel through the affected area after the lines re-opened.

Travel drama aside, which sadly is becoming a regular feature of gigging trips away, it was good to be back in Birmingham - and soon I was waiting in the O2 Institute 2 for the night to start. I seem to remember reports of the band's 2023 shows suggests that crowds were on the thin side - but the Birmingham show was fairly well attended I thought, at least considering the band's small stature here in the UK. A decent bill likely helped to shift some tickets, though, with the Texan four-piece Tulip kicking things off. I had seen Tulip live once before, opening for Serenity in London in 2024 - but I had not really checked them out properly since. I remember somewhat enjoying their set in London a couple of years ago, and my view on Saturday's set is largely similar. Fronted by Ashleigh Semkiw, Tulip are largely a quite modern-sounding alternative metal band - with the occasional symphonic and atmospheric flourish. The riffing from Colin Parrish (vocals/guitar) and Cody Casillas (guitar) was largely grinding and heavy, with little in the way of instrumental showboating. Parrish did throw in the occasional solo, as well as the occasional harsh vocal bridge, but generally the band's riffs were groovy and heavy - with drummer Dylan Gowan, on loan from and doing double duty with the other support act Seven Spires throughout this tour it seems, laying down some tight, muscular post-thrash grooves. Semkiw's quite poppy vocal approach nicely contrasted with this riffy onslaught - and there was quite a lot of light and shade in the band's sound as a result. In truth, calling Semkiw a poppy singer does her a bit of a disservice. There were certainly more powerful and even some semi-operatic moments from her - but generally she just sang in a pleasingly melodic manner, grooving nicely along with the big riffs. Tulip certainly have something of a distinct sound as a result - and I enjoyed their 30 or so minutes on stage again last night. Given that is twice that I have enjoyed the band live now, I probably should do them a favour and actually give some of their material a proper listen.

There was only a short break between the evening's two support acts so, as mentioned before, it was not long before the Boston-based four-piece Seven Spires took to the stage. Gowan had barely had time to have a break before he was called upon again - with the unique and dynamic band delivering 40 or so minutes of technical, heavy, and symphonic music that is quite unlike anything else. Like Tulip, I had seen Seven Spires live once before -  as I caught them in Manchester last year opening for Sonata Arctica. I have nearly all of the band's albums, and enjoy them whilst feeling that I have only just scratched the surface, but live they are a different beast. If their long albums can be quite hard to sit through due to how much of an aural assault they can be, live the band seem so much more direct. This is likely, in large, down to frontwoman Adrienne Cowan - a singer and performer in a league of her own. She is an excellent musician and composer, too, as the band's albums can attest, but live she gets to focus on singing - with a dynamic mix of warm, powerful clean vocals and black metal-esque shrieks her USP. I enjoyed seeing the band live last year, but I remember the sound mix being a bit muffled - but on Saturday they sounded very powerful indeed. Kicking off with the lengthy Songs Upon Wine-Stained Tongues, the band delivered a headline-worthy performance. Cowan was always the focus, her perfect vocal delivery and strong stage presence capturing every glance - but the rest of the band are just as key. Few can pull of fluid, tapped runs on his instrument like Peter de Reyna (bass guitar/vocals) can - whilst Jack Kosto (guitar) is full of neo-classical tricks to anchor the band's larger-than-life material. There were clearly quite a few fans in attendance, and Seven Spires were likely the band of the night when it came to the audience's reaction. Bands that do something different tend to turn heads - and I am sure that the powerful performance and generous sound mix gained Seven Spires a few new fans. It was good to hear a few different songs to those performed last year, too. Almosttown was an early highlight, with its good mix of gritty power metal and plenty of progressive flair, whilst the somewhat poppy Lightbringer reined in some of the band's usual excess to instead just focus on big hooks. Semkiw joined the band to duet with Cowan on that number, reflecting the two bands' long-standing friendship due to touring together previously, whilst she also showcased some proper operatic tendencies during a brief segment of the lengthy Love's Souvenir - where she followed a particular heavy section dominated by Cowan's harsh vocals with something more angelic. I would have been happy for Seven Spires to play for much longer, but sadly it was soon time for Gods of Debauchery and the end of the band's set. I can only hope that next time Seven Spires return to the UK they do so as a headliner - as hearing more from this excellent band live is something I am keen to experience. The setlist was:

A Fortress Called Home

Songs Upon Wine-Stained Tongues

Almosttown

Succumb

Lightbringer [w/ Ashleigh Semkiw]

Love's Souvenir [w/ Ashleigh Semkiw]

Wanderer's Prayer

Gods of Debauchery

Given the excellence of Marillion the night before, and Seven Spires' strong set, Xandria felt a little destined to disappoint. Whilst I do not think that they actually disappointed, their pretty typical symphonic metal felt a little one-dimensional to what came before. Given that the turnout was not exactly poor, too, the atmosphere in the room never felt that strong. Seven Spires had received a stronger reception, with Xandria instead receiving a warm, if somewhat muted, one. This was a shame, as I still think that Xandira put on a good show - but sometimes a support act just shines that bit brighter. Focusing on the positives, though, the band played much of their strong new album - kicking off with a powerful one-two punch of Eclipse and Colours. These were two of the heavier numbers of the night, with both featuring some harsh vocals from Vourvahis. I remember Vourvahis really impressing as a live singer when I saw the band before, but I did not feel that she was as strong this time. I think that she was having issues with her in-ear monitors at times, which cannot have helped, but she sounded a bit timid and flat at times - which was a shame. This was especially the case on the older songs performed - particularly those from the era where the band went all-out on operatic-style singers. She sounded strong on the more gothic anthem Ravenheart, but Forevermore later on did not fare so well in my opinion. Vourvahis can do operatic vocals to an extent, but she did not feel as powerful as I was expecting. On the newer songs, though, she largely sounded strong. The EP-only anthem Universal was new to me, but it came across well live - whilst the folky single The Shannon's Home was something of a highlight thanks to its big chorus and jig-like melodies. It was also one of the songs which Rob Klawonn (guitar) really shone on. As he is currently the only guitarist in the band's ranks, with Heubaum now on bass as previously mentioned, he had to do a lot of heavy lifting - but his riffing throughout was strong, whilst his soloing was busy. The folky The Shannon's Home allowed for some big guitar leads, too, and he even ended it with some acoustic guitar playing. That folky vibe was later returned to during Northstar, with more excellent guitar playing from Klawonn, but before that there was time for a few different vibes. The somewhat longer Two Worlds allowed for a slightly heavier, more progressive sound - whilst there was also a ballad in the form of The Last Generation played. The latter saw Vourvahis more at her best, and early on she stood alone on the stage to perform the gentle intro - before the rest of the band slowly joined in. Despite enjoying Seven Spires more, I still felt that Xandria's time on stage passed pretty quickly - and it was not long before a main set-closing version of Reborn received quite a strong reception. As the band left the stage, though, there was an awkward silence for a brief period - before some half-hearted calls for an encore started and the intro of Valentine started playing. A three-song encore followed, although I am not sure the crowd really deserved it, with the operatic Valentine and Nightfall looking back to the past somewhat. These were not Vourvahis' strongest moments, either, but the lengthy Lore that ended the night fit the bill more appropriately - with the dynamic and more progressive number a strong way to end the night. The setlist was:

Syzygy

Eclipse

Colours

Ravenheart

Universal

The Shannon's Home

Forevermore

The Grand Delusion

Two Worlds

The Last Generation

Northstar

Reborn

-

Valentine

Nightfall

Lore

I enjoyed my time with Xandria on Saturday, even if the crowd never really seemed to get that into the show - and with Vourvahis perhaps not at her best. It was good to see a headline-length set from the band after so many years, though - and with a decent-sized Birmingham crowd gathered. The band of the night for me though was Seven Spires - and I hope to see them again soon, this time with more time to allow their unique music to truly shine.