Kreator - London Review

Having not long arrived back from London, the March gigging madness is almost over. I have a one more gig this month, a local affair tomorrow afternoon, but a hectic and enjoyable month is almost over. April is still busy, and I am already looking forward to a long Easter weekend away, but it will not be as busy as March - which saw gigs both local and further afield. The reason for the latest trip away, back to London after a couple of Midlands adventures, was to catch the German thrash metal band Kreator on their latest UK tour. I have been a Kreator fan ever since I saw them for the first time back in 2014 - when they co-headlined in Bristol with Arch Enemy. I largely went to the show to catch Arch Enemy live for the first time, and did some casual listening to Kreator beforehand, but I came away from the show a big Kreator fan - and this is something which has continued on since, with all of their albums since getting some love on here in the form of reviews. It is perhaps odd, then, that, until last night, I had not seen the band live again. They have returned to the UK a handful of times since that 2014 tour, but for whatever reason I was never able to make any of the shows. I had a ticket to see them with Lamb of God in 2020, but the show was postponed a number of times due to the pandemic - and then finally due to the closure of the O2 Academy in Brixton due to safety and security concerns following some deaths at a concert. The show was re-scheduled once again, but I was unable to make this final date - so I ended up with a refund years after first buying the ticket. That show promised to be a great one, too, so I was sad to miss it, but these things happen - I just made sure that I would catch them next time. As such, when the band's most recent European tour was announced last year, which included a handful of UK shows, I jumped at the chance - and picked up a ticket. The London show back at the re-opened Brixton Academy made the most sense, given that the other two shows were in Manchester and Glasgow, so I booked a ticket and had months to wait. The night really was one to look forward to, too, as it was not just Kreator on the bill which stood out. The night promised to be a great night of thrash and death metal - with the UK's own death metal pioneers Carcass, Californian thrash kings Exodus, and their fellow Californian noise merchants Nails rounding out the lengthy and impressive bill. Big bills seem to be becoming something of a thing again of late. Classic rock bands used to do this sort of a thing a decade or so ago, but bills with notable bands from top to bottom somewhat died out for a while. They really make sense, as it gives gig-goers value for money whilst likely helping keep costs down for the bands. It does mean shorter sets all round I suppose, but in this economy bands have to make big-scale tours work somehow - and I would not be surprised to see this trend continue and become quite popular again. With fours bands on the bill, though, it meant an early 5:30pm doors time - so by the time I had been standing on the sloping Brixton Academy floor until just before 11pm I really was done in. These long shows are certainly more of a struggle than they once were - but that is the price of getting older I suppose. Perhaps I will opt for a seat at the next lengthy show of this nature - especially at the Brixton Academy as the sloped floor does add to the overall strain on the ankles and knees, despite it affording good views throughout. The venue has never really been a favourite of mine, though, as the sound is often quite mushy there - and I just find Brixton in general quite an unpleasant part of London to spend time in.

By the time I got to the venue not long before the advertised door time the queue was already circling around the block and almost back to the venue again. The venue opened later than planned, too, which was starting to annoy some around me in the queue - but by the time the queue stated moving everyone was quickly inside, and the delay outside meant less time hanging around inside. The changeovers between each band were largely quick, so there was not too much hanging around, and it did not seem like too long before Nails took to the stage. Despite having heard of the band, they were the only band on the bill that I essentially knew nothing about and had not seen live before. I knew that they were something of a punk/metal crossover with very short songs - and they were afforded around 30 minutes which certainly got the crowd going. Despite the early start, there was already a good-sized crowd in attendance when Nails took to the stage - and given the amount of Nails merch that I saw around the venue there were clearly quite a few in attendance who were fans. Nails will never be my thing, and they certainly were not helped by the aforementioned mushy sound, but for half an hour or so I could appreciate the band's no-holds-barred attitude. Mixing hardcore punk, thrash, and death metal, the band's sound was largely chaotic. Each song came and went in a matter of moments, with generally only one or two riffs per song, and extended soloing or instrumental sections of note were largely kept to a minimum. Frontman Todd Jones seems to be the main guy in the band, with the other members all fairly recent recruits, and he managed to whip up quite a bit of energy early on. Moshing was a feature throughout the whole night, but even during Nails' set early on there was plenty of it - and the crowd certainly cannot be accused of taking thing easy early on. Nails' whole set was intense, too, which the crowd only fed off further. The band clearly only really do one thing, so there was little in the way of variety - but this worked given their short set. It was nice, too, to see a newer band on a bill of otherwise veteran bands who kicked off their respective careers in the 1980s. Nails' were easily the most caustic and unapologetic of the lot, too, and the show carried on at a pace from here.

It was only around 20 minutes later that Exodus hit the stage - and the veteran thrash legends were afforded 45 minutes to show the crowd why they are often considered one of the best thrash bands in the business. I did think that they might have sat above Carcass in the running order, as Exodus to me are the bigger band, but both Exodus and Carcass had the same amount of time on stage - so perhaps it was to give the crowd a break from thrash between Exodus and Kreator. I last saw Exodus live at the 2022 iteration of Bloodstock Open Air - but since then there have been some changes in the band, with classic frontman Steve 'Zetro' Souza departing once again to be replaced by a returning Rob Dukes. It was my third time seeing Exodus overall, but it was both my first time seeing the band with Dukes and my first time seeing the band with both Gary Holt (guitar/vocals) and Lee Altus (guitar) on stage together. Holt was on Slayer duty the first time I saw the band live and Altus was absent for unknown reasons at that aforementioned 2022 show - so it was great finally seeing the band's guitar duo of the past 20 years playing together. With only 45 minutes the band did not have a lot of time to play with, so they immediately kicked off with 3111 from their newly-released album Goliath (expect a review of it here in due course). Two songs from this new album were played, including a live debut of the title track, but generally the set was made up of classics the past. I think that it is fair to say that Dukes is not universally loved by the Exodus fanbase, but I enjoyed his performance last night. His voice might not be as unique as Zetro's, but his stage presence was good - and I think he sounded pretty powerful, despite the mushy sound once again striking somewhat. He spoke to the crowd well throughout, too, I felt - and seemed at home singing material from all eras of the band. His previous era was returned to with the lengthy Deathamphetamine, which was arguably the first big overt crowd sing-a-long - but the band set out their stall pretty early with the evergreen Bonded by Blood, one of thrash's most important tracks. Despite the mushy sound, the band still powered through. Jack Gibson (bass guitar/vocals) was quite high in the mix, meaning that his robust playing cut through the mush a little - whilst it is always great to see Tom Hunting (drums/vocals) on stage given all the health issues he went through a few years ago. The legends did not need to do much to get the crowd going, either, and there was plenty of singing during the mid-paced Blacklist and another old classic A Lesson in Violence. The aforementioned Goliath allowed the band to slow right down and deliver something doomy - but largely this was a pace-fest. The later closing duo of The Toxic Waltz and Strike of the Beast showed this - and it was obvious by the time that the band's 45 minutes came to an end that they had achieved what they had set out to. The setlist was:

3111

Bonded by Blood

Deathamphetamine

Blacklist

Goliath

A Lesson in Violence

Raining Blood [Slayer cover]/The Toxic Waltz

Strike of the Beast

The changeover between Exodus and Carcass was also pretty quick, and it was not too long before Brixton was being treated to some gnarly death metal from one of the best British bands to ever do it. As was the case with Exodus, this was my third time seeing Carcass. I first saw them in this very venue in 2022 on a bill with Arch Enemy - and I then caught them headlining in Exeter the following year. Carcass are not a band I listen to often, but their more recent work is excellent - and 1993's Heartwork is a true classic. The band managed to fit 10 songs into their 45 or so minutes on stage - and they barely stopped for breath. Jeff Walker (vocals/bass guitar) only spoke to the crowd very briefly - and they knew that they had to make the time count. Each riff and solo from the excellent guitar duo of Bill Steer and James Blackford impressed the crowd - and there was plenty of moshing and grooving during the set, even if some of the primal thrash energy which whipped up the crowd elsewhere was lacking here. The sound was also a bit clearer for Carcass' set, which helped the band's more technical side to shine. Walker's throaty growls were nice and clear, and the occasional times that Steer added his deeper growls, generally during older songs, the vocal contrast worked nicely. The guitar contrast between the two guitarists also worked well, with Steer's more NWOBHM-esque approach to leads and the shreddier Blackford ensuring that each solo hit hard - and the mix of thrashy, faster death metal riffing and slower, groovier riffs kept the set interesting. Much of the band's canon was covered during the set, but Heartwork received the most love with four of its cuts included. Buried Dreams and the more anthemic No Love Lost were two such numbers that were deployed early on, with hooky riffs and guitar leads filling both - but there was time for the band's more technical side with longer cuts like Incarnated Solvent Abuse and the newer Dance of Ixtab (Psychopomp & Circumstance March No. 1 in B), with the latter showcasing plenty of the band's trademark groove. Carcass had a hand in spearheading the British grindcore scene in the late 1980s with tracks like Genital Grinder, which was deployed later in the set, but the band kept evolving - having quite a lot to do with both the technical and melodic death metal subgenres. Along with the Swedish bands, Heartwork was a seminal release in developing the latter - and Death Certificate and a closing rendition of the title track likely reminded the crowd why. The band's set never felt as intense as that Exeter show from 2023 - but a sold-out club is always going to feel sweatier and more enclosed than a larger room. That 2023 show is likely the most extreme show I have been to in terms of a headline act - so Carcass will always be one of those bands I remember fondly, and I still wear my shirt from that night pretty regularly. It was good to catch up with them again after a couple of years - and they added some proper grime to what was otherwise largely a fast-paced and thrashy evening. The setlist was:

Unfit for Human Consumption

Buried Dreams

Incorporated Solvent Abuse

No Love Lost

Tomorrow Belongs to Nobody/Death Certificate

Dance of Ixtab (Psychopomp & Circumstance March No. 1 in B)

Genital Grinder

Exhume to Consume

Corporal Jigsore Quandary

Heartwork/Carneous Cacoffiny

The changeover between Carcass' and Kreator's sets was a bit longer - as a big curtain covered the stage whilst Kreator's gear was set up. I do not remember the band having much of a 'show' when I saw them with Arch Enemy some years back, but this time they went all-out - with devil statues, a huge model of the band's demon face logo, and a horned riser which drummer Jürgen 'Ventor' Reil made the most of. Afforded an hour and a half, too, this was very much a Kreator show, despite the bill which had come before, and the German four-piece delivered a strong set which largely focused on their newer material despite the inclusion of a few older classics. Kicking off with Seven Serpents from their latest album, the band sounded great from the off. As was the case with Carcass' set, Kreator had a much better live sound. The guitars had much more definition as a result, and frontman Mille Petrozza could easily be heard above the rest of the band. To match the devilish stage show, there was also plenty of fire throughout. I think a recent Powerwolf show had Kreator beaten in terms of fire, but there was still plenty of pyro throughout the show last night - with one notable moment later on seeing two dummies or similar set on fire. Petrozza took a few opportunities to speak to the crowd, indulging in some pretty typical thrash schtick at times, but he did a pretty good of getting the crowd going - even though the powerful 16-song setlist was doing fine on its own. Early highlights included the excellent and slightly folky Hail to the Hordes - whilst Satanic Anarchy, also from the latest album, came across really well on stage. Petrozza's voice has barely aged over the years, and in fact I think that he is a stronger singer now than he was in the 1980s - and Sami Yli-Sirniö (guitar/vocals) is a potent guitar foil for him, handling most of the solos. Petrozza soloed occasionally, though, especially during the older numbers - with both People of the Lie and Betrayer coming fairly early on to shake up the focus on the past 20 or so years. Some die-hard fans may think that Kreator's more anthemic recent work lacks the ferocity and urgency of their early work - but I generally prefer the band's newer material, with the groovy, mid-paced Krushers of the World and the breakneck pace of Hordes of Chaos (A Necrologue for the Elite) showing that they can still deliver the best of both worlds. The former was also dedicated to former Manowar guitarist Ross the Boss, whose death had been announced earlier in the day. There were certainly many people in attendance enjoying a set which largely focused on the band's newer material - and I think that Kreator have done well to somewhat reinvent themselves in recent times and stay relevant. Headlining a venue like the Brixton Academy is not easy for a thrash band that is not one of the Big 4 - and, although the bill helped, Kreator are likely bigger now than they ever have been. Anthems like Phantom Antichrist and the much more overtly melodic 666 - World Divided are a big part of the band's current appeal - but it was still great to hear some older classics wheeled out towards the end such as the fast-paced Endless Pain. I have to say that by the end my feet were really started to hurt, so I was quite glad when the set was coming to an end - despite Kreator's performance being excellent. The chugging Violent Revolution and the oldie Pleasure to Kill were a great duo to close things out on - and I was soon back out into the Brixton night ready for a lie down! The setlist was:

Seven Serpents

Hail to the Hordes

Coma of Souls/Enemy of God

Satanic Anarchy

Sergio Corbucci Is Dead

Hate Über Alles

People of the Lie

Betrayer

Krushers of the World

Hordes of Chaos (A Necrologue for the Elite)

Satan Is Real

Loyal to the Grave

Mars Mantra

Phantom Antichrist

Endless Pain

666 - World Divided

The Patriarch

Violent Revolution

Pleasure to Kill

Apocalypticon

Despite the length of the evening, and the state of my legs and feet afterwards, it was great to catch Kreator last night - backed by such a strong bill. The quality of the bands on display was excellent and it is always good to see veteran metal bands still sounding powerful and vital. Given that I had not seen Kreator for 12 years, it was great to finally see them live again - and I hopefully will not need to wait as long to see them for a third time.

The Black Crowes' 'A Pound of Feathers' - Album Review

Given the lengthy gap between the band's last two studio albums, it feels great to have a new album from the Georgia-based blues/southern/jam rockers The Black Crowes drop almost exactly two years to the day since their previous effort was released. That last album, 2024's Happiness Bastards (which I reviewed here), was the band's first album of original material since 2009's Before the Frost...Until the Freeze - and their first since reuniting in 2019 following a few years apart. The pandemic meant that the band's reunion had a delayed start, but once they were allowed out on the road they were immediately celebrating the 30th anniversary of their seminal debut album Shake Your Money Maker - before settling down to crown this latest era of The Black Crowes with a new album. I have become a pretty big fan of the band over the years, and Happiness Bastards was one that hit me from the off. It was clear that the tour in support of Shake Your Money Maker's milestone rubbed off on the band - as Happiness Bastards was easily their most concise album since that 1990 debut. Despite starting out writing snappy, riffy, bluesy southern rock anthems, The Black Crowes' sound evolved over time to become more experimental - with jam band aesthetics from acts like The Allman Brothers Band and Grateful Dead creeping into their songwriting. Many of the band's albums are quite long, then, and live they were often known for their fairly lengthy shows - with elongated versions of songs often containing plenty of soloing and interpolations of blues and jazz standards. The band do not really seem to pushing that side of their sound during this current era, though. Happiness Bastards was a short and to-the-point album; and the show that I caught on its tour in Wolverhampton, which is to date the only time I have seen the band live, contained relatively limited jamming. A few songs were somewhat stretched out to allow for some impressive soloing, but generally the band stuck to their more anthemic songs - with lots of older classics played from the first two albums alongside a healthy number of new cuts. This worked for me as, as much as I enjoy some jamming from time to time, the band played many of my favourites - and Happiness Bastards was a regular companion for me throughout 2024, winding up in my Albums of the Year list. The band's reunion does not seem to be slowing down, though, and clearly wanting to build on the overall positive reviews that Happiness Bastards received - the Robinson brothers got back in the studio with producer Jay Joyce to write and record the follow-up. That follow-up, released earlier this month as A Pound of Feathers, feels like a natural continuation of the more concise songwriting exhibited on the previous album. This latest album is a touch longer and perhaps a bit more varied in terms of songwriting - but the song lengths are generally kept to a digestible length, with the band's riffy, bluesy approach once again on show. As always, the Robinson brothers were responsible for the songwriting - but the musicians involved in this release represent a more stripped-back version of the band compared to their touring ensemble. Frontman Chris Robinson does his thing as always, but Rich Robinson played all of the guitars and bass on the album. Keyboard player Erik Deutsch, drummer Cully Symington, and backing singers Mackenzie Adams and Lesley Grant, all of whom have toured with the band in recent years, contributed to the album - but long-time bassist Sven Pipien and current live guitarist Nico Bereciartua are conspicuous by their absence.

Despite the line-up tweaks, although Deutsch also played on Happiness Bastards, A Pound of Feathers' overall sound is similar to its predecessor - with Joyce's production style carrying over the from the 2024 effort. There is a rawness alongside a hard rock energy here - whilst the band's trademark looseness keeps things from feeling too sterile. Kicking off with Prophane Prophecy (spelling taken from my CD copy rather than how it appears online), a hard rock edge is immediately on show with a barrelling 1970s-esque guitar riff - which is soon overlaid by some slide guitar hooks. Cowbell-led drumming aids the song's later snarling rock groove, whilst Chris' bluesy, ragged voice sounds as good as ever. He has always had the perfect voice for this sort of music, and he exhibits some power during the riffy verses - whilst going for a smoother approach, backed by the two ladies, during the slide-driven chorus. Rich, despite soloing occasionally, has generally been seen as the band's rhythm guitarist over the years - so it is interesting hearing him handling all of the guitars here. His slide playing throughout this track is evocative of the era it is harking back to - and is a lot of melody in his playing here, despite the main riffing being pretty brash. There is not a big keyboard presence during this number, with the drumming and off-kilter bass playing high in the mix - aiding the overall rawness conjured up by Chris' troubadour vocals and Rich's raw guitar playing. Cruel Streak reins in the faster pace of the opening number, instead going for a more overtly bluesy and groovy sound. Rich's memorable riff, with its walking blues rhythm, is a bit more Led Zeppelin-esque this time - with a smoother tone, reining in some of the brashness of the opening number. With the exception of the chorus, this riff essentially carries on throughout the whole song - even during later parts of each verse which see Chris speeding up the vocal delivery with some juddering and old-school blues vocal melodies sees a variation of it remain. The chorus is a bit different, though, with a more strident guitar pattern overall - whilst Hammond organ roars away, cutting nicely through the mix as the two ladies sing in a call-and-response manner with Chris. Occasional guitar leads and some booming drumming rounds out the song - with the strutting anthem sure to become a live favourite on the upcoming tour. Pharmacy Chronicles slows the pace down quite considerably - opening with acoustic guitar chords and the occasional, effects-heavy slide guitar line. A sombre groove is later added by the rhythm section, and once Chris starts to sing the song is immediately recognisable as one of The Black Crowes' trademark acoustic-based ballad-type tracks. These organic numbers have been a bit part of the band's catalogue since the early days, and Chris is always able to inject plenty of emotion into them - whilst Rich's aching slide leads add to such, as do Deutsch's occasional bursts of mournful southern rock piano. The rhythm section grounds the song, the stomping beat limiting it from becoming too whimsical, but the ballad vibes still shine through - largely thanks to the prominent acoustic guitar chords and the excellent vocals of Chris. Songs like this often take a few listens to fully appreciate, but it has become a bit of a favourite of mine over the past couple of weeks - and The Black Crowes often excel at such numbers.

Do the Parasite! returns to a much more hard rocking sound, with an infectious riff kicking things off - which, again, largely remains in situ throughout. The riff is one which is sure to get toes tapping live, whilst the simple drum backing and the relative lack of bass in places gives the song a pretty cavernous and echoey sound - which actually works well. This is aided by Chris' vocals which have something of an effect on them - making him sound a little echoey and more muffled than usual. This sound looks to really throw the clock back to the early days of rock and blues, then, and this vibe continues on through a slide-heavy pre-chorus - before the garage rock vibes of the chorus with barroom piano and occasional washes of organ create a bigger sound overall. Later verses feature occasional organ stabs, which fill the void a little every so often, whilst Rich's later guitar solo is simplistic and bluesy in nature - but it works well within the confines of the song. The song is memorable in part due to its simplicity, and it is another solid rocker in the band's canon. High and Lonesome returns to a prominent, acoustic guitar-driven sound - with staccato acoustic chords creating a rhythm alongside some simple percussive drumming and a similar bassline. The verses follow this staccato pattern throughout, with Chris singing in a rugged and slightly more nasally manner - whilst occasional keyboard swells add colour. The chorus, as is often the case here, is a bit smoother overall - with wordless vocals and harmonies from the backing singers and a slightly folkier overall sound thanks to more fluid guitars and Chris' approach to singing. A tortured guitar solo later adds some effects-heavy melodies to the piece - but really this song is more of an organic number thanks to the acoustic guitar dominance and folky stomp. Queen of the B Sides remains in acoustic mode, and it is easily the most stripped back number here. Delicate acoustic guitar chords and acoustic slide melodies, with the occasional piano accent, make up the backing for Chris' vocals here - whilst Rich adds some ragged harmonies. Like a number of the songs here, this is one which harks back to an early period in rock history - with folky, bluesy, and even country vibes on show as stark acoustic slide guitar leads double Chris' vocals at times. It is a very short song, but I think it adds a lot to the album overall - acting as a mid-album break. It has a very live feel to it too, and the simplicity is what makes it work well. It's Like That returns to a more hard rocking sound, with a brash, garage rock guitar riff kicking things off - but the overall sound from the band here is much bigger. The guitar tones remind me a little of their debut album - and the overall arrangement is similar, too. Barrelling guitar riffing and melodic bass playing back Chris as he sings in an upbeat and energetic manner - whilst punchy drumming and plenty of Hammond elevate the song beyond the more organic vibes of the last couple of numbers. Plenty of soulful backing vocals are thrown in, too, especially during the snappy chorus - whilst Rich later delivers a busy and bluesy solo which is one of the album's lengthier instrumental breaks. This is not one of the songs which stood out to me early on, with some of the more retro numbers doing so originally - but this high-energy rocker adds a lot to the album, and it feels very similar to things that the band were doing in the early days.

Blood Red Regrets returns to something more organic in tone - with a brash, bluesy, walking guitar riff sitting over a raw and slightly distorted drum groove. The loud snare work on this song is a part of its foot-stomping charm - but there is also a grandness to the song which reveals itself in time. The early moments here are largely raw, with the aforementioned riff and drum combo, with sparse bass beneath, the main backing for Chris' slithering vocals - but as the song moves on the keyboards become a bit more prevalent. Led Zeppelin-esque grand keyboard backings are used during the chorus, in a string-like manner, whilst organ is used sparingly to occasionally add further weight. Acoustic guitar is later returned to for a spacey instrumental bridge-like section, but this vibe is largely short lived - with the main riff soon kicking back in for a final grand chorus. You Call This a Good Time? returns to a brash, confident hard rock sound which the band have often exhibited - and there are vibes similar to Prophane Prophecy from earlier in the album here. The guitar riffing is a bit more snarling this time, then, and there is little of a more retro sound - with big guitar riffing, busy bass playing, and some more modern hard rock drumming backing everything. The ladies add some potent backing vocals to a decent chorus - whilst Chris sings in a pouting and preening manner throughout, ever the rockstar. It is fitting, then, that Rich also throws in a guitar solo - and it is one that is less bluesy than is typical for the band, with more hard rock flash and a few busier phrases. Eros Blues is another slower track, at least early on, but instead of acoustic guitars dominating - this time some electric piano from Deutsch is the main backing for Chris' emotive vocals. The piano playing is gentle and atmospheric, which suits Chris' quiet delivery - but the song is quite varied, with heavier sections crashing in every so often. It tends to return to its keyboard roots again, with some different retro keyboard sounds utilised throughout - but the heavier moments are built around an infectious and groovy riff which works well as Chris moves through the gears vocally. The arrangement is a bit all over the place, then, but this sort of songwriting has often worked well for the band - and their jam credentials feel like they are a bit more on show here. The guitar and keyboard interplay here works well, and towards the end the backing singers play a big role to help create an emotive and atmospheric tapestry behind Chris' delivery. The album then comes to a close with the spooky Doomsday Doggerel - a slow-burning and trudging number that also goes for something of an atmospheric sound. The main guitar riff here is somewhat doomy, and it plods along monotonously as Chris adds a tortured vocal atop it. There is a bit of a heaviness to the piece as a result, but it also feels quite old-fashioned thanks to the guitar tones and the subtle keyboard textures which sit beneath the riffing. A snappier chorus section does add the occasional burst of energy, but generally this song creeps along to maintain its haunting and booming atmosphere. The song is unlike anything else on the album, and it is not something often done by the band, but the slower and heavier vibe works well as a closing statement. I am not sure it would work anywhere else on the album, but it gives the album a powerful end. Overall, then, A Pound of Feathers is another excellent release from The Black Crowes. It might not be as immediate as the last album, but it feels more varied and I feel that over time it might feel more impressive and complete as a result. There is certainly more for me here to discover despite the 40-odd minute runtime - and the Robinson brothers have once again delivered in my opinion.

The album was released on 13th March 2026 via Silver Arrow Records. Below is the band's promotional video for Prophane Prophecy.

Glamour of the Kill - Birmingham Review

Despite getting home much later than planned due to the fact that no trains were running further west by the time my already-delayed train back from Birmingham reached Exeter yesterday, which is why this review is being published a day later than usual, I had an excellent time away in Birmingham this past weekend catching up with a teenage favourite of mine that have recently reformed. As I discussed during my recent review of their comeback, and third, studio album Vengeance (which I can be read here), the York-based four-piece Glamour of the Kill were one of my favourite new British bands during the late 2000s and early 2010s - during an era which boasted other excellent bands such as Heaven's Basement, Dear Superstar, and Jettblack. As a bit of a metalhead as well as being a fan of various forms of classic and hard rock, Glamour of the Kill covered a lot of musical ground for me. They always felt like the band Bullet for My Valentine could have been had they not worried too much about how they were perceived and had a stronger 1980s influence - and I caught the band live a number of times between 2009 and 2015 during their initial run. From discovering them on a monster bill with DragonForce, Sabaton, and Sylosis in 2009 to seeing them with Heaven's Basement in Birmingham in 2015 (the final time I would ever see Heaven's Basement and my last Glamour of the Kill show for a while) I saw the band grow and mature as songwriters - releasing two albums and an EP whilst I was a fan. Lots of early gigging memories are tied to seeing Glamour of the Kill. A friend and I caught them two nights in a row in Exeter and Plymouth on their first big headline tour of the UK in 2010 - plus there was a rowdy show in Leicester the following year on the tour for 2011's The Summoning. Later shows were also good, but those particular ones perhaps captured the band at their primal best - and are some formative gigging memories for me. Sadly, as is often the case for smaller bands that fail to break through in a meaningful way, Glamour of the Kill broke up in 2016 - but returned briefly in 2018 for a reunion that seemed to come off the rails before it really got going. I saw the band in London in 2018, which is a memorable show for both musical and personal reasons, but aside from a brief run of shows the band were soon once again no more. More touring and an album were planned, but life got in the way I imagine - and things went quiet on the Glamour of the Kill front until last year, when new music was released and touring plans were revealed. The band were supposed to play a comeback show in London last year, but it was cancelled, if I recall correctly, due to strikes on the Underground - with the tickets carrying over to a new London show this year announced as part of a short UK tour to support Vengeance. I would not have been able to go to last year's London show in any case, but when the tour was announced the best option for me was Birmingham. Funnily enough, the show took place just down the road from The Rainbow - which I where I saw the band with Heaven's Basement in 2015. The venue for Saturday's gig was a new one for me - the nightclub Mama Roux's. The venue seemed to be a small part of a wider complex, with various clubs and bars in full swing when I got to the venue at around 6pm when it opened. The room was small, but it seemed like a decent set-up - so I would not mind returning there in the future.

The Birmingham show was the last night of the tour, which marked the band's first run of shows since 2018. Looking at photos of the other shows, the turnouts looked pretty good - so I was concerned when the evening's opening act, local band Meet Your Maker, took to the stage at around 6:30pm and there were only around 15 people in attendance. Thankfully, during the evening the place did fill up, but I had expected a better turnout really given how long the band had been away, how cheap the tickets were, and the fact that it was on a Saturday. In some ways, though, the whole night had an old-school feel to it - with a decent but not amazing turnout, £15 tickets, and £20 t-shirts. Despite the small crowd early on, though, the metalcore/hardcore act Meet Your Maker made the best of things - playing for around half an hour and making an impression on those who turned up early. The band's pretty macho sound will never be my thing, and I do not understand the current trend of quite chavvy-looking metal bands that are doing the rounds, but they certainly had their sound down - and a few of the choruses were quite decent. The mix of harsh and clean vocals generally worked well, and there were some chugging riffs throughout which created some early energy - but I did notice quite a reliance on backing tracks for what sounded like lead guitar melodies. They could have been a synth, but they sounded more like a guitar - and it was strange seeing the sole guitarist on stage playing chords when what sounded like more complex leads were coming through the PA. Perhaps they were a member down, they did not make it clear if they were, but I wish that some bands would stop being so reliance on backing tracks for such key elements of their sound. There were clearly a couple of people in attendance who knew the band, so there was a bit of singing going on during the set, and a couple of small-scale mosh pits also broke out during the some of the songs. Clearly a religious band, it was a bit strange towards the end when they stopped for a few moments to talk about Jesus. It was largely done through the lens of mental health, an important topic for sure, but the religious angle came a bit out of left-field - although it did not derail what was largely, in fairness, a powerful set.

The main tour supports were Glamour of the Kill's fellow Yorkshiremen This House We Built. I had heard of the band before, and I think I remember Tyketto's Danny Vaughn singing their praises at one point, but I knew nothing about them - so I was quite surprised to find them to be a 1980s-style hard rock/heavy metal act. There was nothing of the modern metalcore of Glamour of the Kill's sound to be found in This House We Built - but the bluesy riffs, melodic rock choruses, and fast-paced guitar solos were all on point; and it did not take long for me to start enjoying their set. Given my love of all things 1980s, this is perhaps not a surprise, but I was surprised how well the band went down with what was largely a metal crowd. Everyone was pretty on board with This House We Built from the off - and a later cover of John Farnham's You're the Voice had everyone singing along. Frontman Scott Wardell possesses a great melodic rock voice - and he teamed up well with guitarist Andy Jackson, who also sang a couple of songs, to form a mean guitar duo. Big riffs, melodic leads, and plentiful solos filled the band's set - whilst the punchy rhythm section ensured a metallic edge. The band played for around 45 minutes, and they managed to squeeze quite a lot of material into that time. Despite essentially being a hard rock act, there was quite a bit of variety on show. The opening number had a bit of a southern rock feel thanks to some bluesy riffing and Wardell's slide guitar playing - but elsewhere there were melodic metal anthems, borderline AOR choruses, and a soaring ballad that ticked all of the right boxes for me. For a bunch of, and no offence is meant here, largely older guys, who have started out on this current venture pretty recently, I was very much impressed. They all came across as being very down-to-earth and likeable, too, with some classic Yorkshire humour on display throughout - which also likely helped draw the crowd, which was of a decent size by this point, into the set further. I imagine these are all musicians that have been knocking around various rock and metal scenes for a while, with bassist Wayne Dowkes-White looking like a real rockstar duo to his impressive and extensive tattoos, but there is clear chemistry to be found in This House We Built - and there was not really a song played that did not have something to like about it on first listen. They are the sort of songs which are likely to only get better after hearing them some more, then, and I fully intend to give This House We Built a proper listen going forward.

The changeovers during the night were all pretty quick, so it did not seem like it was too long before First Breath of the Reaper could be heard playing over the PA - and Glamour of the Kill were taking to the stage. Given that the venue was small, I decided to get right down to the front - which is not something that I do very often these days. I was just drawn to a spot on the barrier in memory of some of those earliest Glamour of the Kill gigs I attended - and the next hour and 15 minutes was something of a nostalgia trip. Due to the design of the venue, I was actually stood about in line with the speakers - which meant that the live sound mix, for me, was not the best - but I did not really mind. I was enjoying being down at the front again so much that I decided not to move back for a better mix - and I could still hear everything, it was just a bit drum-heavy. The band's 14-song setlist covered all five of their releases - but they rightly focused on material from Vengeance. Six of the new songs were played, with the double salvo of The Forgotten and Grace of God kicking things off. Despite the fact that the crowd could have been bigger, it was clear that basically everyone in attendance were big fans of the band. Even all of the new songs were being sung passionately by those around me. Vengeance is a strong album, so the new songs deserved the reception they got - and it was great that the crowd were not just waiting around until the next oldie. The band were on fire, too, and barely looked like they had aged a day. Davey Richmond (vocals/bass guitar) remains an excellent frontman, whilst guitarist Mike Kingswood shredded his way through the whole set - and took on more of a role vocally during some of the new songs. Sam Brookes (guitar) is the new face in the band, but he riffed away all night supporting Kingswood - and seemed to be having fun on the other side of the stage. I was right in front of Kingswood so I enjoyed all his soloing - and Richmond was often towering over me on his platforms at the front of the stage. The band talked well with the crowd as they often used to, enjoying Tequila shots at one point, but largely the music just came thick fast. Some old favourites such as the anthemic Feeling Alive and the synth-heavy Break were deployed early on, whilst the newer material was spread out nicely throughout. The new material is heavier, and perhaps a little less anthemic, but the songs really came across well on stage. Rampage hit harder live than it does on the album - whilst the new album's title track was a winner thanks to the big wordless vocal hooks during the chorus. The big synths and hooks of oldie A Freak Like Me saw plenty of headbanging, too, whilst Blood Drunk was perhaps a bit of a clue over 10 years ago as to where the band would go with their current sound. The set flew by, and it was not long before the dense ballad Delirium saw Kingswood take the lead vocally whilst the crowd lit up the room with their phones. It was the main set's penultimate number, sadly, with the real oldie Rise from Your Grave rounding things out with plenty of singing. A brief step off stage saw the band called back for a two-song encore - which opened with A Hope in Hell, the first song the band ever wrote. It was played slightly differently, with a more mellow opening, but when it kicked in the place went wild - and this continued on throughout the closing anthem Second Chance which brought a fun and nostalgic evening to a close. The setlist was:

First Breath of the Reaper

The Forgotten

Grace of God

Feeling Alive

Break

Earthquake

Rampage

A Freak Like Me

Vengeance

Blood Drunk

Feed Them to the Pigs

Delirium

Rise from Your Grave

-

A Hope in Hell

Second Chance

Despite playing so many of their new songs, Saturday's gig in Birmingham really took me back to some of those early Glamour of the Kill shows I saw in 2010 and 2011. That vibe was still there, and it made me realise how much the band meant to me back then - and still do today. I was pleased when they reformed last year - but now that I have a new album to enjoy and another gig memory to cherish the reunion feels complete. Given the 8 year gap between the 2018 gig and this past weekend, I really hope that the band do not leave it as long next time - and I am already looking forward to the next tour.

Lamb of God's 'Into Oblivion' - Album Review

A new Lamb of God album is always something to celebrate. The Virginia-based five-piece have been one of the world's premier metal acts since they released their much-heralded debut album New American Gospel in 2000 - although, under the name Burn the Priest, they had been around since 1994 and had released a self-titled album in 1999. For people my age, and those slightly older, Lamb of God were likely an important gateway band heavier things. I tend to think of Children of Bodom and Arch Enemy as big gateway bands for me - but, thinking about it, Lamb of God were likely just as important. I first came into contact with the band in 2007, when they opened for Heaven & Hell on their only UK tour. Whilst I had seen Trivium earlier that year, backed by a bill of Annihilator, Gojira, and Sanctity, Lamb of God were easily the heaviest band I had seen live at that point. They made strange bedfellows with Heaven & Hell, but Lamb of God made an impression even if I did not fully 'get' them at the time. I remember picking up 2004's Ashes of the Wake not too long after the show, likely as it was cheap and that impression was lingering, and it was not too long before the groovy, heavy album had me enthralled. Ashes of the Wake is likely still my favourite Lamb of God album as a result, which is not exactly an original opinion given that it is generally seen as the band's breakthrough release, but my fandom only grew from there - and I remain a big Lamb of God fan nearly 20 years later. In my opinion, Lamb of God have never released a bad album. Many of them have been reviewed on here over the years and I look forward to each new release eagerly - as there is not another band that gives me the mix of grooves, riffing, and caustic power that Lamb of God do. In contrast to the prevailing view, too, it is not my view that the band have made the same album over and over - with the possible exception of the last two. For me, like Trivium for a while, each new album felt like a reaction to the last one whilst respecting a core sound. Ashes of the Wake was likely where that core sound came together fully, at last in a polished and proud fashion, but I am not sure that the band released an album 100% in that vein again until 2020's self-titled (which I reviewed here) soft reboot. Between Ashes of the Wake and Lamb of God the band released a more overtly anthemic and mainstream-friendly release; a rawer, thrashier album; a lengthier and more progressive effort; and a strange album that mixed the band's core sound with other modern metal tropes and guest vocalists. There is quite a lot of variety in the band's canon, then, but Lamb of God, alongside 2022's Omens (which I reviewed here), both felt like a return to a simpler and more primal groove metal sound after some years of experimentation. Those two albums always feel like a pair as they came out fairly close together - but four years on from Omens the band are back with their latest effort Into Oblivion, with a new logo and different-looking album art. In some ways, there remains plenty of the sound which the band returned to on the last couple of albums here - but they have also allowed themselves to experiment again a little. I saw an interview with guitarist Mark Morton where he was saying that, following a recent tour celebrating the 20th anniversary of Ashes of the Wake, the band started to listen to the bands that were influencing them 20 years ago again to fuel this latest effort. There are certainly some Ashes of the Wake-isms here, then, as there were on the previous two albums, but Into Oblivion is more varied overall - with a strong thrash influence at times, as well as some slower-paced sludge and grunge vibes.

Production-wise, the album sounds huge - but perhaps a little rawer than usual mix-wise. The band worked again with Josh Wilbur here, who seems to get the best out of Lamb of God, and the guitar tones here are fierce - but perhaps the player who benefits the most from the rawer mix is bassist John Campbell, whose playing feels much more present here than is often the case. The opening title track is very much Lamb of God 101, though, with the experimentation left to later in the album. Some staccato drum stabs and a fuzzy guitar lead kick things off, with the song building towards the first of many huge riffs to be found on the album. The intro has three parts, the aforementioned opening, the same guitar lead backed by groovier drumming, and the song's main riff - which is a real headbanger. The band's trademark grooves are very much present from the off, with southern patterns and mid-paced chugs ever-present throughout the song - whilst frontman Randy Blythe sounds like he has not aged a day since the early days of the band. His growls during the stop-start verses are as good as ever, with the staccato guitar and bass patterns working around his lyrics - whilst drummer Art Cruz ensures that the grooves remain throughout. The chorus is more anthemic, and it ups the pace somewhat, whilst returning to the fuzzy guitar lead from the intro. There is little here that moves the needle from the classic Lamb of God sound, but it sounds as fresh as ever - and it sets the tone for what is to follow. Parasocial Christ is a much thrashier song - mixing much faster-paced sections with traditional mid-paced grooves. It is not a song that stands on ceremony, as it opens with a barrelling thrash riff, backed by some of Cruz's most intense drumming on the album. Grooves are thrown out of the window here, as the fast thrash sections really hark back to some of the venomous moments on 2003's As the Palaces Burn. Not everything races along, though, and the song is a great mix of furious pace and trademark grooves. The later chorus is much more typical of the band's sound, with Blythe's anthemic vocal hooks barking out over the top of some choppy, mid-paced riffs - whilst some bridge-like sections see Cruz come to the fore with some percussive and prominent drum breaks. Given the thrashy nature of the song's bulk, though, a couple of blistering guitar solos are also thrown in - which are not something that the band do all that often. If Parasocial Christ contains some of the album's fastest moments, then the sludgy Sepsis contains some of the slowest. The song opens with a big, dirty bassline from Campbell - beneath which a hollow drum pattern sits and over which Blythe starts to deliver some rather demonic vocals, part-spoken/part-sung. Lamb of God have rarely sounded this dirty and primal, but the sludgy sound works well for them - and it is great to see Campbell essentially leading the song for quite a while. Even when the guitars join in properly they generally just follow the bass' lead - and the stoner vibes created by the song are a strange mix of bluesy and heavy. The song does change as it moves along, though, with a drum break giving way to a more typical riff-led section which ups the pace and channels the band's core sound for a period - before the dirty riffing is returned to as the song fades to a close.

The Killing Floor, despite opening with a few seconds of somewhat more melodic guitar playing, returns very much to the band's core sound - although this is another track with some thrashy vibes. There are plenty of southern-sounding riffs, especially as the song kicks in and then later during another memorable chorus, but the verses are faster than is often the case for Lamb of God - with Cruz laying into his double bass drums at times for a relentless drive, whilst occasional blast beats and higher-pitched screams from Blythe add a strange, extreme metal edge to the song. Generally the riffing is very much as expected, though, including a very Pantera-esque juddering bridge section later on - which is later overlaid with some strange guitar leads. Changing up the pace again, El Vacío is the closest thing here to a ballad - and the song is one of those murky, clean vocal-led slower songs that the band have been doing over the past decade or so. These songs often have a bit of an Alice in Chains vibe, and this one is no different - but it is also a bit heavier than some of the band's other similar songs, with clean verses and a heavier chorus. Morton and fellow guitarist Willie Adler lay down melodic clean guitar patterns and aching leads during the verses, which are backed by subtle drumming and overlaid with Blythe's ever-improving clean vocals. Blythe is surprisingly expressive whilst operating in this manner, despite him essentially whispering - and the contrast when the big chorus kicks in with a flurry of loud drums and heavier guitars makes his dynamic and powerful growls really shine. These slower numbers are never my favourites from Lamb of God, but they help to add some variety to each album - and this one acts as a welcome change of pace. St. Catherine's Wheel feels unapologetically typical following the semi-ballad, with a southern riff fading in from the distance - which then hits hard once it is heard properly, the buzzing chords and Cruz's deliberate bass drum work interlocking nicely. Despite the song being very typically Lamb of God, there is a bit of variety throughout. Blythe's verse vocals feel a bit punkier than usual, and there is a bit of a hardcore edge on show at times - but the chorus is one of the band's true anthemic moments, with hooky, shout-along vocals and some classic grooves. Brief bass-led sections help to shake things up, though, returning to a stoner-esque sound for a period, whilst another guitar solo is deployed here - allowing some fast-paced shred to mix with the grooves elsewhere. Blunt Force Blues continues the focus on the band's core sound here, but it is perhaps a bit more of a chugging song than is sometimes typical. There are plenty of groovy riffs throughout, but some of the guitar patterns feel a bit more traditional heavy metal - which is maybe fitting given that 'blues' is in the song's title. These simpler moments are not utilised too regularly, but they do help to shake things up before the next southern groove kicks in - whilst subtle synths are also used in places to add a cold, atmospheric backing. This is a song which has grown on me a bit since first hearing it. It is not as hooky as some of the band's efforts, and it lacks a standout chorus, but the riffing variety is welcome - and there is a strong breakdown later on.

Bully might be the album's least interesting number. Nothing here is bad, and the album is just shy of 45 minutes long so it flies by, but Bully just does not really grab hold. It very much follows the band's typical pattern, but it does nothing interesting with it - and there are no big hooks to make up for this lack of musical interest. Even a mediocre song can sometimes be saved by a huge chorus, but this song lacks that - and overall it feels a little too slow and plodding. It lacks the dirt of Sepsis or the emotive balladry of El Vacío to make its slower pace pop - and it just feels like a bit of a rambling, slightly slower than mid-pace tune which lacks any meaningful hooks. Snippets of riffs and the odd drum break add interest - but overall the song is the one here that does the least for me. A Thousand Years picks things up again, though, with Campbell once again opening things up with a dirty bassline. Like the previous song, this one is on the slower side - but it feels vital and dirty thanks to a bluesy swagger created by a Black Sabbath-esque riff, the strong bass presence, and Blythe's use of both clean and harsh vocals throughout to switch things up. The song overall is cleaner than Sepsis, but there are shades of that sludge feel here - but really there is just a strong Sabbath-esque feel during the anthemic riff-led sections, whilst Blythe delivers a hooky chorus in amongst this creeping heaviness. The melodic clean backing vocals work well, too, and a spoken bridge section later leads into a bluesy and melodic guitar solo which fits nicely with the song's old-school vibe. This song feels like Lamb of God trying to write a 1970s-style metal song - and it works well. The penultimate number Devise/Destroy opens slowly, with distant clean guitars - before a faster-paced riff kicks in and the song picks up the pace compared to the previous couple of numbers. There is a welcome energy here, then, following the slower grooves that came before - although it never reaches the thrash-like feel of some of the earlier numbers, despite the odd blast beat from Cruz. This is another song, though, which has a bit of a hardcore feel. Some of Blythe's vocals are shouted and less harsh sounding, which is very hardcore-coded - despite the main chorus feeling like a classic Lamb of God effort. A busy breakdown section later actually channels the metalcore sound of the mid-2000s with a surprisingly Trivium-esque riff - but overall the song is a powerful effort with plenty of energy and attitude. The album comes to a close with Wire, a similar song to the previous one in that it maintains a pretty upbeat feeling - but the hardcore vibes are absent, with the band instead fully channelling their core sound. The album opened sounding like old-school Lamb of God and it closes in a similar manner - which is fitting given the variety that is otherwise found within. More huge riffs and grooves, another pretty strong chorus, and a shredded guitar solo make up this album-closing effort - and it is very much Lamb of God through and through, bringing to an end another strong album from the five-piece. Lamb of God rarely disappoint in my opinion and they have not started doing so on Into Oblivion. The dull new logo aside, the riffing is as good here as ever - and I like that the band have allowed themselves a bit more room for experimentation this time. I liked the last two back-to-basics albums, and they are ones I still return to often, but Lamb of God are often at their best when they try new things alongside the familiar - and Into Oblivion very much allows this to happen.

The album was released on 13th March 2026 via Century Media Records. Below is the band's promotional video for Into Oblivion.

Black Stone Cherry's 'Celebrate' - EP Review

It is always nice to be able to talk about some new southern rock on this blog - as new albums in the genre are quite a rarity these days. Most of the classic southern rock acts either no longer exist or have long became heritage acts, content to play the same setlist night after night to fuel nostalgia - and it is not a genre that has generated a huge amount of newer bands over the past 20 or so years. One newer band that is, at least, southern rock in part, though, is the Kentucky-based four-piece Black Stone Cherry. In fact, this year marks 20 years since the band launched onto the scene with their self-titled debut album back in 2006 - something which will be celebrated on a lengthy UK tour later this year. Following the success of their debut album, Black Stone Cherry grew in stature with each new release - until they were arena-level headliners here in the UK. In terms of newer southern rock, then, Black Stone Cherry are easily the biggest on the scene - but the band's southern rock riffs and grooves have often been mixed with the radio-friendly, and often bland, sounds of the US post-grunge scene of the 1990s and 2000s. Given the band members' ages, this influence is no surprise - but it has perhaps been a bit of a double edged sword for the band over the years. Whilst the band's first two albums, which remain their best in my opinion, certainly contained a post-grunge influence, which did help them make their brand of southern rock a bit more hard-hitting and anthemic, it started to dominate their sound on albums three and four. The band grew in popularity as a result, but I get the impression that their label at the time was pushing them further and further down this path - which they were not all that happy with. As such, they took the risk to leave their big label and sign with a smaller label - and, ever since, they seem to have had more creative control and their sound has returned to a better balance of southern rock and post-grunge which leans more towards the former. I have enjoyed everything that the band have put out to some extent, even albums three and four, but the first two remain their best - and I tend to prefer Black Stone Cherry when the southern rock is allowed to truly shine through. This is why I liked their last album, 2023's Screamin' at the Sky (which I reviewed here), so much - as it was a short, sharp, hard-hitting southern rock album that contained just enough of a post-grunge influence to push anthemic hooks but not enough to flood the album with ballads and bland rockers. It may well be my favourite album since the first two, and it was one that I played a lot when it came out - which was helped by the band playing a UK tour of small venues, some of the first they ever played here as headliners, to promote its release which I was lucky enough to get a ticket to. As such, I was looking forward to the next thing from the band - but news on new material did not seem all that forthcoming. A couple of singles dropped towards the end of last year, though, so something new was clearly around the corner - but I was a bit disappointed when the band announced that their next release would be a digital-only EP. As a physical media collector the digital-only format was a disappointment - but I nevertheless was looking forward to something new from the band. I have to say, too, that I was disappointed when I first listened to the seven songs here. It has grown on me somewhat, but, the excellent title track aside, Celebrate is a bit lacklustre. It is probably the band's weakest collection of songs since 2014's Magic Mountain (which I reviewed here) and, tellingly, it is their least southern rock-sounding release maybe ever.

The contrast between the last album and Celebrate could not be more stark, then, and I do hope that this is not a direction which the band want to push going forward. There are things to enjoy here, and it has grown on me as I said, but compared to the band's best work this feels quite bland and lacking in any real hard rock fire. As I said, though, the EP kicks off in fine fashion with its title track, a hard rocking number that will certainly find a home in the band's live set going forward. The opening, effects-heavy riff sounds strange - but when the main guitar chug kicks in, with a cold synth backing, the song gets going. It is not the most southern-sounding song, but there is enough here to keep me interested - with frontman Chris Robertson in fine voice during juddering verses, which features stop-start riffing and a strong bass presence from Steve Jewell Jr. There is less overt riffing here, but the grooves created throughout the verses are strong - and the riff which later follows the main chorus does have something of a southern rock edge which harks back to the band's early days. The guitar solo which later sits atop this same riff is another moment which harks back - whilst the sing-along chorus feels both anthemic and suitably poppy. There is a big synth backing throughout the whole song, which is a different from the norm and not something I really want from the band - but the song rocks hard enough to overcome this concern. Neon Eyes is a bit riffier, at least early on, and it is another of the songs here that I like. The main riff is very much classic Black Stone Cherry, with a rawer guitar tone compared to the previous track - and some trademark busy bass drum work from John Fred Young. I think that part of my issue with this EP is the overall production. Black Stone Cherry sound at their best when they do things the simple way, but they have experimented quite a lot with synths and strange effects throughout - and this song feels a bit blunted by them. The main riff is great, but it feels a bit layered with synths when it is reused for the decent chorus - and there are often effects on Robertson's voice during the song, with sparse verses and a juddering pre-chorus all feeling a little synthetic. I do like the song overall, and I am sure it would sound better live, but I just wish some of its natural power was allowed to shine through. Caught Up in the Up Down is a rocker, which opens with a pretty hard-hitting riff - so there is a lot of promise here. The riff has a southern edge, and there is a strong groove during the verses, but I find the vocal melodies and the eventual chorus to be a bit braindead overall. The semi-rapped verse vocal rhythms, despite some great bass playing underpinning them, remind me of some of my least favourite songs that the band have done in the past - and the chorus has a mindless sing-song feel which showcases the worst side of that American radio rock sound that I really dislike. The instrumental sections are great, such as the strong riffing and later solo, but the melodies are not to my taste - and seem thrown together somewhat to fit a formula the band had largely left behind. I'm Fine slows things down somewhat, opening with a bluesy, mid-paced melody - but, again, this song feels a bit buried in effects. The synths are not as prominent as they are elsewhere, but the guitar tones here are not all that pleasing - with thin leads and droning rhythms which do little on the riffing front. There are some moments early on which rely on a drum machine or similar for a quieter sound, which is a travesty given that Young is one of the most unique drummers of recent years, whilst elsewhere the guitar melodies are bland and lacking in any sort of distinctive pattern. Robertson's vocals are at least heartfelt - but the song overall does little for me.

A slower number which does work more positively in my opinion, though, is the ballad Deep. Dark, clean guitar melodies open things up, over which Robertson sings in a downbeat and emotive manner. This is not a complicated song, but Black Stone Cherry have often written strong ballads - and this is one of the EP's better cuts. The simplicity of the opening verse is welcome, and when the band crash in for the slow-burning chorus it does feel powerful - with the softer guitar tones working nicely this time. I like it, too, that later verse renditions are much more powerful. Young's drumming is allowed to shine this time, and his punchy sound actually works well despite it maybe being too 'loud' for a traditional ballad - whilst, again, the bass does some interesting things in the background. The chorus is very radio-friendly, but I do not mind the simplicity when it comes to ballads like this - and Robertson has the voice and conviction in his delivery to make songs like this feel real. A brief guitar solo and some interesting melodic sections allow Robertson and fellow guitarist Ben Wells to try a few different things, too, and overall the song is a bit of a highlight. Returning to something harder rocking, the opening riff to What You're Made Of is a bit more of what I want from the band. Unlike some of the songs here, though, this song feels somewhat tougher throughout - so it is a bit stronger overall. The verses do rein it in a little, but there is still some crunchy guitar riffing in the background, creating some off-kilter grooves - whilst the chorus moves back and forth between louder, riffy sections and some grungier moments. Another of my main issues with this EP is that on so many of the songs it feels as if the band has deliberately pulled back - scared of sounding too heavy. Black Stone Cherry are essentially always at their best when they just rock out and go for it with a big riff and hook - so I am unsure why they have chosen to neuter themselves somewhat here. What You're Made Of has plenty of good ideas, but it is held back by the band holding themselves back - and I just wish the song was allowed to really rock. The EP comes to a close with a cover of Simple Minds' Don't You (Forget About Me). I know little about Simple Minds so it is not a song I am familiar with - but it fits in with the rest here as it rocks to an extent, without really ever letting rip. Tyler Connolly (Theory of a Deadman) adds his voice to parts of the song - singing alongside Robertson. His more typical post-grunge snarl only aids to make the cover sound more generic than it otherwise would have. Even at their most post-grunge-influenced, Robertson's southern soulful delivery has helped Black Stone Cherry to stand out - with Connolly's nasally delivery sounding ten a penny instead. The song is not terrible, and the chorus is pretty strong, but with no real big riffs to talk about, more synths, and an unnecessary guest vocal spot, it is just not something I want or need from Black Stone Cherry. Overall, then, Celebrate has two songs I genuinely like a lot (the title track and Deep), two songs I like but feel held back by the band's production and performance choices (Neon Eyes and What You're Made Of), and three which do little for me. Given that this is the first new material from the band in three years, such a return is disappointing and I hope that this EP was seen as opportunity for the band to try some new things and experiment before returning to something more hard rocking and groovy on their next proper album. I am looking forward to seeing them live later in the year, and some of these songs will certainly sound better live, but new Black Stone Cherry material is sadly not always a guaranteed winner - and I hope for better next time.

The EP was released on 6th March 2026 via Mascot Records. Below is the band's promotional video for Celebrate.

10cc - Plymouth Review

Following a busy few weeks of travelling to catch live music, including a few rail-replacement buses, it was nice to go to something local last night. I only got back from an excellent trip to Wolverhampton on Friday, but yesterday I was out again - this time in Plymouth, to the newly-rebranded Plymouth Arena for a night with the quirky pop rockers 10cc. The Plymouth Arena, until recently the Plymouth Pavilions, is a criminally underused venue in the city. Outside of Plymouth Argyle's Home Park, which sometimes hosts large-scale gigs in the summer, the Arena is the city's largest venue - and can hold around 4000 people when configured for a standing show at maximum capacity. Like many venues, though, it can be configured in different ways to suit different crowd sizes - but even this has not attracted all that many bands in recent years. As a seasoned gig-goer, seeing what is not a terrible venue often languishing empty or relegated to hosting comedians, evenings with, and those tribute bands which are now bigger than many original bands is a shame. When I was younger the venue had a poor reputation for sound quality, with some early gigs there I remember sounding quite mushy, but that has not really been the case for a long time at this point - and I have not experienced bad sound there for years. The building opened in the early 1990s, and for a while was busy. Looking back at who played there through the 1990s, I would have been there on a regular basis. This was likely the tail-end of bands generally still playing lengthy UK tours, something which is just not undertaken by many these days, and the building was aimed as an upgrade for and eventual replacement of the Cornwall Coliseum - which had been the South West's major gig venue from the 1960s through to the 1980s. Sadly these days, though, the venue is underused - and if I go there once a year then I have generally done pretty well. Last night was my first and, so far, only planned trip there this year - whilst I went there once last year to see Those Damn Crows and once the previous year to see Squeeze. I do not think that I went there at all in 2023 - and it is also fairly telling that my last three trips were for acts that I would not have travelled to see. Whether this local rebrand will actually lead to any overall improvements in terms of events remains to be seen. Some are of the view that the rebrand has been undertaken in line with Plymouth's upcoming bid to be UK City of Culture - but all that has changed so far is the wording of the sign above the main entrance. Nothing obviously has been upgraded internally, with the chairs still old and not in a good state of repair - whilst the long-closed swimming pool and ice rink still sit empty. I really hope things do pick up, and the rebrand leads to more nights out in Plymouth, but I have been hoping for more bands to come to the venue for nearly 20 years at this point and it has not happened to date. It was nice to get back there last night, though, with 10cc the reason for my trip. 10cc are one of those bands that I knew I should check out, given that so many of the bands I like have been influenced by them, but it was not until this gig was announced last year that I decided it was time. 10cc have been regular visitors to Plymouth over the years so I am not sure why this time was the time - but I have been enjoying slowly working my way through the band's quirky and melodic catalogue over the past few months. Whilst only Graham Gouldman (vocals/guitar/bass guitar) remains from the original line-up, Rick Fenn (vocals/guitar/keyboards/percussion) has been in the band since 1976 - and drummer since 1973 Paul Burgess only retired last year. The band line-up feels legitimate, then, with three newer faces joining the two classic-era members.

The place was pretty full throughout the evening - even if it was laid out in an all-seating arrangement and filled with people very different to those I usually see at concerts. There was a good atmosphere throughout the night, then, and the evening was opened by Welsh singer-songwriter Andrew Park - who played a short set of acoustic and piano-based music before 10cc took to the stage. Park has history with 10cc, having filled in for both Iain Hornal (vocals/guitar/mandolin/bass guitar/keyboards/percussion) and Fenn in recent years when they have been unable to join the band on tour - and he later joined the band on stage for a song to add some additional percussion. As such, he seems part of the wider 10cc family, then, so was likely an easy choice for support act. Person-with-acoustic-guitar support acts are generally my least favourite type of support act for a couple of reasons, Firstly, I just find all-acoustic music to often be quite dull, and, secondly, if the songs being played are usually 'bigger' sounding then a sparser arrangement is rarely the best way to be introduced to them. That being said, Park was better than average for the type of artist that he is. He had some subtle backing to his songs which included drum loops and synths, which did help to fill out the sound a little, whilst his voice was strong. Songwriting-wise, though, there was nothing especially to write home about. I think nearly every song he played had the word 'love' in the title - so the subject matter was very earnest, something which I also generally dislike about this type of act. Between the songs, though, he was engaging and came across as likeable - so his set did conjure up something of an atmosphere which was good. There are certainly worse support acts that I have seen over the year, and his short set did not outstay its welcome, but what Park does is just never really going to be for me.

There was not much waiting around during the evening, as it did not seem long before the lights went down and, following a lengthy intro video, 10cc took to the stage. The show was very much a greatest hits affair, although I am not sure that the band do any other kind of tour these days, with only one of the songs played being released after 1978. As such, even a casual like me was familiar with essentially the whole set - and I enjoyed the band's near-two hour set as a result. Gouldman and Hornal shared the lead vocals throughout, with the latter likely singing the most - but Fenn also co-sang one song, whilst the whole band helped out on the trademark harmonies. Everyone on stage was a multi-instrumentalist, so there was a lot of instrument swapping going on, but this only added to the overall show. The night kicked off with the jaunty The Second Sitting for the Last Supper - and hit after hit followed really. There were quite a few overall highlights for me, but an early one was Art for Art's Sake - with Park adding additional percussion. Songs like this really made me realise where Cats in Space got some of their quirkier side from - and the whole band came together to make the multi-layered piece work. Fenn really impressed as a guitar player throughout the night. His soloing was plentiful and tasteful, including a lot of whammy bar tricks, whilst the playing of Keith Hayman (keyboards/guitar/bass guitar/vocals) often added to the overall upbeat nature of the night. 10cc have a number of different vibes in their sound, from the whimsical to the more hard rocking. Songs like Life Is a Minestrone and Old Wild Men certainly showcased the former, with uplifting pop harmonies and bouncy song structures dominating, whilst the somewhat darker Clockwork Creep, the one song which Fenn took the lead on vocally, and the riffier, bluesier The Wall Street Shuffle showcased the band's somewhat heavier side. 10cc can rock out when they need to, and on these numbers the driving bass of Gouldman tended to provide plenty of weight. The centrepiece of the night, though, was certainly the lengthy Feel the Benefit - with Honral providing additional atmosphere on the keyboards as well as taking the lead vocally. A few of the songs were stretched out to allow for some additional soloing, and this was one of them - with Fenn really letting rip at times. During the set, too, there were a few diversions from the 10cc catalogue. Gouldman later took the lead on an acoustic version of Bus Stop, a song he wrote for The Hollies before 10cc got together, whilst he and Hornal also duetted on Say the Word - a song the pair wrote for one of the latter's solo albums. It is a shame that such a writing partnership has not led to a new 10cc album, as the song fit nicely in with the rest of the set, but new material is clearly not the band's minds - even if both Gouldman and Hornal have released solo albums in recent years. There was not too much time left in the main set at this point, but plenty more hits followed - with original 10cc member Kevin Godley appearing on the screen behind the band to 'sing' Somewhere in Hollywood - before the delicate and harmony-led ballad I'm Not in Love and the pop-reggae of Dreadlock Holiday brought the main set to a fun-filled close. There was time for a couple more, though, and a two-song encore kicked off with an a cappella version of Donna, which saw Hornal hitting some very high notes at times, before a lengthy version of the harder rocking Rubber Bullets saw the set come to a close. Both Fenn and Hayman took lengthy solos during the piece - and it was a fun and bouncy way to end the night of music. The setlist was:

The Second Sitting for the Last Supper

The Worst Band in the World

Art for Art's Sake [w/ Andrew Park]

Life Is a Minestrone

Good Morning Judge

The Dean and I

Old Wild Men

Clockwork Creep

Feel the Benefit

The Wall Street Shuffle

Bus Stop [The Hollies cover]

The Things We Do for Love

Say the Word [Iain Hornal solo material]

Silly Love

Somewhere in Hollywood

I'm Mandy Fly Me

I'm Not in Love

Dreadlock Holiday

-

Donna

Rubber Bullets

It has been a lot of fun to get into the 10cc catalogue over the past few months, and culminating my explorations in last night's gig felt fitting. It was a very enjoyable show from a band with plenty of experience at this point, even given the newer members on board, and the decent-sized Plymouth crowd certainly enjoyed the hits played. I aim to continue on with my 10cc journey, checking out some of the lesser-known albums and becoming more familiar in general with this unique band.

Primal Fear - Wolverhampton Review

So far this year I have been to a surprising amount of melodic metal gigs. The year's first outing, an Epica and Amaranthe co-headline affair, is probably still the year's best gig to date - but last weekend in London I enjoyed one of the current big names on the block in Powerwolf, with long-standing act HammerFall in direct support. Last night, too, I enjoyed a band that many class as power metal - but, for me, the German band Primal Fear are largely just a great, old-school sounding heavy metal band. It is well known at this point that the band was formed by frontman Ralf Scheepers and Mat Sinner (bass guitar/vocals) when the former was not hired as Rob Halford's replacement in Judas Priest in the mid-1990s. Essentially, then, Primal Fear play Judas Priest-style heavy metal - albeit with a European power metal edge thanks to some perhaps slightly flashier guitar pyrotechnics and more reliance on fast-paced double bass drumming. I have been a casual Primal Fear fan for many years at this point, but it was likely only during the past seven or so years that I really started to pay attention and look to complete my Primal Fear collection. There are still a couple of their albums that I need to get, but in general now I am pretty familiar with the band's quite lengthy catalogue - and their last few albums have all been reviewed here. In recent years, though, the band have not been regular visitors to the UK. Like HammerFall, then, the band did used to visit the UK more regularly - but this has dropped off in more recent years. There are quite a few European metal bands that have become this way, and I can only imagine that Brexit has made it harder for bands to come over and play one or two small-scale shows. Either that or the fanbase has dropped off somewhat, but, in truth, the reason is likely a combination of many factors, but it is a shame that we in the UK often miss out on bands like Primal Fear. I had a ticket to see them in either 2020 or 2021, but clearly the show was cancelled due to the pandemic and was never rescheduled. Primal Fear tour in Europe fairly regularly, so I am sure that the tour eventually happened - it just did not include the UK. The band did return to the UK last year, though, playing a set at the always interesting-looking Stonedead Festival. It was the band's first UK show for a while, but when the headline tour for last year's Domination (which I reviewed here) was announced there were no other UK shows. That was, though, until the second leg. It would have been great to see one, presumably in London, let alone two - but with a second show being in Wolverhampton at KK's Steel Mill it gave me a good excuse to return to one of my favourite venues and plan my first Midlands trip of the year. I have waxed lyrical about KK's Steel Mill so many times on this blog now that people must be getting bored of me talking about it - but it really has become my favourite venue of its size. I rarely get to Nottingham these days, so Rock City has dropped down the list - and Rock City can be a bit unpleasant when it is sold out. There always feels like there is at least a bit of room in KK's Steel Mill, even when full, and the space is just used so well. Primal Fear certainly did not sell the place out, but there were a few hundred in attendance - which likely pleased the band given the assumed risk of playing a couple of UK headline shows. The venue can be laid out in a number of ways to make crowds of differing sizes look like they are filling the place - and there were a number of curtains employed last night, as is often the case, to make the crowd pack the area in front of the stage. Wolverhampton had not escaped the recent rain - so it was a pretty wet walk down to the venue, with the doors opening slightly earlier than planned to allow people in out of the rain.

Clearly Primal Fear were the reason I was at the show, but I was also looking forward to seeing the support act - a solo set from journeyman rock/metal vocalist Ronnie Romero. As was likely the case for many, I first discovered Romero when he joined the final incarnation of Rainbow, with whom I saw him live twice, but before that he fronted the Spanish metal act Lords of Black - and has since sung with many guitar greats including Michael Schenker, Adrian Vandenberg, and Richie Faulkner as part of the band Elegant Weapons. I last saw him with Schenker, at KK's Steel Mill in fact, so I was looking forward to seeing him as a solo artist - having given last year's Backbone a few listens in the run up to the show. He came on stage around half an hour after the original door time, but there was already a decent-sized crowd in attendance when he took the stage. The set was largely culled from his two solo albums of original material - but also included a couple of Rainbow numbers and a Deep Purple cover to keep the casuals happy. With a tight band that consisted of José Rubio (guitar), with whom Romero wrote many of the songs that featured, DGM's Andrea Arcangeli (bass guitar), and Chris Allan (drums), whom I once saw playing rather different music with Karnataka, Romero rocked through an 11-song set with relative ease. The title track from his latest album kicked things off, and the mid-paced hard rocker set the tone which was to follow. Rubio's big riffing and melodic soloing style was impressive throughout, whilst Romero is a great frontman - and really owned the venue's big stage. The only disappointment was the absence of a keyboard player - meaning that all the keyboards were pre-recorded and low in the mix. Music like this needs the Hammond organ to roar through the speakers - but the guitars did much of the heavy lifting. Despite Romero's material largely sticking to type, there was some variety throughout. Eternally allowed for a slightly more mid-paced, melodic rock sound to shine through - whilst a heavy take on Rainbow's Stargazer certainly had most in the crowd singing along. The latter did include the one obvious mistake in the set, though, which consisted of either Rubio soloing for too long or Allan ending the solo section too early - meaning that the band were out of sync for a few bars. There were faster moments, too, such as the power metal-esque Black Dog - whilst I enjoyed the epic Castaway on the Moon from Romero's previous, and first, solo album of original material; which I will need to check out. The Deep Purple knowledge of the crowd was also tested with a fun version of the relative deep cut The Battle Rages On, whilst the song which was announced as the final number Vengeance was suitably metallic given its title. Clearly realising that they had a little more time to play with, though, the supposed final number segued into Rainbow's Kill the King - which was a fun end to a powerful overall set. The setlist was:

Backbone

Never Felt This Way

Eternally

Stargazer [Rainbow material]

Black Dog

Castaway on the Moon

Bring the Rock

The Battle Rages On [Deep Purple cover]

Chased by Shadows

Vengeance

Kill the King [Rainbow material]

Following a 30 or so minute changeover, the lights went down again and Primal Fear took to the stage. The room was busy by this point, and this led to an excellent atmosphere throughout. Like me, many in attendance had likely not seen Primal Fear live before - so the opportunity to do so was certainly welcomed. I was not especially close to the stage, but even those around me somewhat further back were largely all singing along to every song - and the responses to Scheepers' attempts to get the crowd to sing were generally successful. The band crammed 15 songs into their 90 or so minutes on stage - with material coming from throughout their career. Five songs from the latest album were included, though, with two kicking things off. The tough Destroyer, with a snippet of We Walk Without Fear used as an intro to it, kicked things off - with the more anthemic and melodic I Am the Primal Fear following. These two songs really set the tone going forward - and it was clear that the night was going to be a good one. Scheepers was in great voice throughout, his ability to hit those high notes intact, whilst the guitar duo of long-time member Magnus Karlsson and newer face Thalìa Bellazecca peeled off riff after riff throughout the night. The pair's guitar tones during the set sounded huge, and they brought the band's muscular metal to life with ease - whilst it was good to see Sinner on stage following his seemingly very serious health issues of recent years. Scheepers was a great frontman, too. He is a tall and just overall very big man, so he is a commanding presence on stage - but he took quite a few opportunities to talk to the crowd. The band as a whole seemed pleased to be back in the UK, and with the turnout and the reception that they were getting - so perhaps they will not leave such a gap between UK visits in future. I hope not, as I would certainly see them live again based on this performance. When anthems like Final Embrace and the more melodic Seven Seals come thick and fast, there is never time to stop having fun. The band's mix of tougher, old-school metal and the more melodic, power metal-influenced songs helped to keep things fresh, too, and they excel at both sounds. The Hunter, one of the strongest cuts from the latest album, was a great example of the latter, and saw Scheepers singing in a cleaner and smoother manner - whilst later in the set Chainbreaker from the band's 1998 debut album was delivered with plenty more crunch and plenty of vocal grit. Favourites came one after the other, though, but some other highlights included the anthemic The End Is Near, with some of Scheepers' highest notes of the night, and the somewhat more delicate instrumental piece Hallucinations - which was essentially a guitar showcase for Karlsson. The best overall moment, though, was the lengthy, semi-ballad Fighting the Darkness, which the aforementioned instrumental acted as an intro to. It felt like the real centrepiece of the show, with Scheepers delivering the vocals with real emotion. The central chorus is perhaps one of the band's best, and it was sung loudly by those around me, whilst the lengthy instrumental section in the middle of the song allowed for more soloing from both guitar players. It was the moment of the night for me overall. The set really flew by, so it was not too long before Scheepers announced Metal Is Forever as the final song - but it was clear that it was not going to be, as the band dispensed with the usual encore silliness after the genre-based anthem to play a couple more. A delicate version of Hands of Time was played as the set's penultimate number - which saw Karlsson playing the song on the guitar the rest of the band sharing the vocals in a campfire-esque manner. The slower arrangement worked well, but it was left to the Accept-like Running in the Dust to bring the night to a close - with one last shout-along chorus for the crowd to enjoy. The setlist was:

We Walk Without Fear/Destroyer

I Am the Primal Fear

Final Embrace

Nuclear Fire

Seven Seals

The Hunter

Tears of Fire

King of Madness

The End Is Near

Hallucinations

Fighting the Darkness

Chainbreaker

Metal Is Forever

Hands of Time

Running in the Dust

Given that I have been into Primal Fear for quite a while at this point, it was great to finally get the chance to see them live - especially after missing out a few years ago due to the pandemic. They delivered a powerful set to a decent-sized and appreciative crowd - and nights like this always give me hope that more promoters will realise that there is an audience for power metal and similar genres outside of London. Romero's opening set was a lot of fun, too, so overall the night was a great one - and another in a long list of such in Wolverhampton of late.