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.
Whilst some of my early musical loves were progressive rock bands, and I have considered myself a fan of the genre for many years at this point, I am not sure that I have ever been as much of a prog fan as I am currently. For a long time I struggled with some of the genre's big hitters, but over the years I have grown accustomed to all things complex and long-winded - and I continue to discover new things and expand my progressive horizons. As such, then, it seemed about time that I properly dived into the huge body of work conjured up over the years by the American singer-songwriter and multi-instrumentalist Neal Morse. I am certainly no Morse novice, and I have been something of an admirer of his, if not a true fan, for a long time. I think that my first exposure to him came back in 2009, and Transatlantic's third album The Whirlwind. I came to Transatlantic due to their connection to Marillion - but I soon learnt about Morse and his, even back then, lengthy history. I knew nothing about Spock's Beard at that point, and I am still no expert, but I started to give Morse's work a bit of a go - with his 2011 solo album Testimony 2 getting a few plays around that time. In truth, though, despite enjoying The Whirlwind, Morse's work, at the time, did not really stick. His sense of melody and songwriting chops were obvious even back then, but I found that his solo work suffered due to his skills as a guitar player. Morse is a talented multi-instrumentalist, and knows his way around a guitar - but it is fair to say that he is more of a keyboard player than a guitarist, so I often found his solo work to be lacking in the big guitar moments that I tend to want from my prog. Transatlantic had Roine Stolt to fill that role, whilst Spock's Beard had Morse's brother, so I often felt as if his solo work fell short somewhat. I stopped listening to his work not too long after those initial experiments, then, save for the occasional foray into early Spock's Beard, until more recently. I picked up 2003's Testimony relatively recently, which again did not do all that much for me - but after listening to Spock's Beard's excellent latest album The Archaeoptimist (which I reviewed here) last year, which has nothing to do with him, I was persuaded to give Morse another go. As such, I picked up a couple of his more recent non-solo releases: 2024's No Hill for a Climber, credited to Neal Morse & The Resonance, which saw him playing with younger, local musicians to where he currently lives, and 2021's Innocence & Danger, the fourth studio album by The Neal Morse Band. I enjoyed both - so when I saw that the fifth Neal Morse Band album was due out this year I pre-ordered and earmarked it as my true jumping-off point into the world of Morse. Different from his solo career, The Neal Morse Band presents a more band-orientated approach, both in terms of songwriting and performance, which pulls from his time with Spock's Beard - and even hints at progressive metal at times due to some of the personnel involved. The band was launched in 2015 with The Grand Experiment - and has remain consistent line-up-wise since. Both bassist Randy George and drummer Mike Portnoy have been involved with Morse for years, having also played on a number of his solo albums, with guitarist Eric Gillette and keyboard player Bill Hubauer rounding out the five-piece. Morse fronts the band, and plays guitar and keyboards, too, but both Gillette and Hubauer also sing occasionally - giving The Neal Morse Band a triple lead vocal approach at times which further shakes things up. The band's fifth album, L.I.F.T., is their first since 2021 and the first since Portnoy returned to Dream Theater and essentially put all of his other projects on hold. Clearly wanting to keep working with Morse where possible, the five found some time around the busy Dream Theater touring schedule to put L.I.F.T. together - and sound-wise it very much feels similar to the grand, symphonic prog rock/metal I enjoyed on Innocence & Danger.
With Gillette on board there is certainly no shortage of big guitar moments here, which sets The Neal Morse Band apart from Morse's solo albums, whilst the retro keyboard sounds from both Morse and Hubauer are true to the prog classics of the 1970s. With Gillette's ability to shred, plus his and Portnoy's metal backgrounds, there is certainly weight to be found here - and, at times, the lighter end of Dream Theater is certainly referenced even if I would not class the album as full-blown prog metal. As with most of The Neal Morse Band's albums, L.I.F.T. is a long effort - but it does all fit on a single CD, unlike some of the others. In true prog style, the opening track, Beginning, is a bit of a scene-setter. The piece is largely instrumental, but it actually opens with some gentle piano and Morse's vocals, which is a very low-key moment given how bombastic this album can be at times - but after a few lines of vocals, a big synth swell soon gives way to a majestic keyboard melody, over which big guitar chords are laid in an anthemic manner. The next five or so minutes act as a lengthy overture for the album, with busy guitar and keyboard playing from Gillette and Hubauer respectively - whilst George dominates one section with a melodic bass riff which everything else is built around. Portnoy is not as busy throughout this album as he can be, but he still gets to showcase his chops - with plenty of grooves coming from his playing. Generally the main musical motifs come from the guitar or the keyboard here, though, with Beginning moving back and forth between each dominating - whilst plenty of Hammond organ roars away in the background. The piece then segues into Fully Alive, the first truly vocal piece, and the album's first single. The bombast somewhat fades away as the transition is approached, with up-tempo acoustic guitar starting to dominate - whilst a lyrical and highly melodic guitar lead providing maybe the first true hook here. The transition takes place, though, once some bouncy piano takes over - and the opening moments of the song see Morse and Hubauer trading vocal lines against a backing of gentle piano and acoustic guitar. This album overall is a good mix of reflective, gentle moments and more upbeat, symphonic prog - and once Gillette starts to sing the chorus a punchy drum beat kicks in and organ adds a rocking backing. Subtle guitar and keyboard grooves, accented by the rhythm section, add a rock edge - whilst later verses feel a bit bigger thanks to a more band-orientated approach. Gillette and Morse's vocal back-and-forth during the chorus brings the melodies to life - and there is an uplifting and positive vibe present, something which is often the case with Morse's work I have found. A later synth solo closes the song out - as subtle piano returns to transition things over to I Still Belong. I Still Belong feel like a slightly more downbeat piece, transitioning from darker keyboards as a lone acoustic guitar melody takes over. This forms the backing for Morse's slightly more restrained vocal delivery, which makes him sound darker than usual, whilst sparse synth melodies flash away in the background. The song largely remains fairly low key throughout, although certain sections feel a bit more atmospheric thanks to some larger keyboard swells and Morse pushing himself a little more vocally. The haunting acoustic guitar melodies dominate, though, and there is a coldness to much of the track - even as long-held electric guitar notes slowly fade in. The band do crash in towards the end, though, with a brief bridge section feeling more hard rocking - but this moment is brief, with the acoustic guitar soon returning.
There are a few linking instrumental passages on this album, and Gravity's Grip follows - immediately bringing some of the album's early bombast back after the relatively plaintive feel of the previous track. Originally opening with, and often returning to, a bouncy synth riff, which is enhanced by some trademark Portnoy drumming, Gillette's busy guitar playing dominates - with some excellent lyrical leads and fast-paced shredded sections adding a metallic edge. The piece gets heavier as it moves along, transition into Hurt People - a riffier piece which sees Morse singing with some strange effects on his voice throughout. Gillette's slower-paced, groovy riffing really drives the piece, with some wah-drenched moments adding an edge, whilst darker synths and a strange, discordant chorus showcasing the metal influences that The Neal Morse Band sometimes employ. Whilst the synths do a lot of good work in the background, this is very much a guitar-driven song. The riffing never really lets up, and Gillette delivers one of the album's best guitar solos around a third of the way through. It is a lengthy instrumental section, and it is packed full of melody and fast-paced prog metal motifs - and it is a solo which really makes me think that Gillette should be held in higher regard in the modern prog scene. This heavy, riffy piece is welcome - but it does take a turn around half way through, turning into another lengthy instrumental section which brings the keyboards back to the fore somewhat. Songwriting and melody-wise this album is very Morse, but it is instrumental sections like this that make The Neal Morse Band albums, so far, much more my thing. This moment is very Dream Theater-esque in truth. The synths are perhaps a bit more retro-sounding and less busy overall, but Gillette's playing is up there in quality - and Portnoy also uses these moments to really cut loose. There is some busy drumming here, then, alongside some excellent, spacey keyboard leads and melodies. When this instrumental bombast comes to an end after a few minutes, and a distant piano is all that is left, the album transitions into The Great Withdrawal - which pushes the acoustic guitar to the fore again. The song opens with Morse singing in a darker manner against an acoustic guitar and piano backing, similar to I Still Belong, but there is a bit more going on this time - with busier piano and keyboard melodies, whilst Morse generally feels more expressive vocally. Plus, this sparser vibe only really lasts during the first verse and chorus - with Portnoy's drum fill introducing the rest of the band for the second verse, which is nicely backed by some crunchy guitar riffing and more Hammond. Amy Pippin and Julie Harrison later add some choral vocals to the second chorus - and the song just feels grander as it moves along. The chunky guitar rhythms add a certain strut, and there is a lushness to the overall arrangement - which is expanded on during another big, shredded guitar solo. Gillette later sings a bridge section, adding his slightly higher-pitched voice to the song, but Morse takes back over for a final chorus - which returns to the song's early slow feel. Another instrumental piece in Contemplation follows, and it is essentially a keyboard showcase. Lasting for a couple of minutes or so, it opens with some classically-inspired piano melodies, which then morph into similar melodies played on the Hammond. There are some real classic prog shades here, but the rest of the band do join in towards the end - with the guitar replicating some of the same melodies, even if the dense keyboards still largely dominate.
When Morse starts to sing again during Shame About My Shame, the band once again drop away - and Morse's mournful lyrics are backed by some electric piano melodies and occasional acoustic guitar. Like many of the songs here, it starts slowly and builds up as it moves along - with the first chorus feeling quite stripped back, with percussive cymbal swells and more electric piano melodies, but Portnoy soon adds a more typical drum groove, albeit a slow one, and the song feels more expansive. The backing vocals from Pippin and Harrison are utilised once again here, making parts of the chorus feel more expansive - but generally this is a slower ballad that feels quite cinematic overall. This vibe is really enhanced later on with another excellent Gillette guitar solo - which is another long one. It is much slower-paced and more David Gilmour-esque in spots - with the wordless female backing vocals which are added into the background at times really giving a strong Pink Floyd feel. Later chorus renditions feel grander with the band just pushing things a little further - and the ladies adding a lot to the overall sound vocally. As big ballads go, the song works very nicely, and it closes with a short, keyboard-led instrumental moment. Reaching is immediately much more up-tempo. It is quite a poppy song overall, very typical of Morse's style, and it opens with just layers of vocals singing the chorus without any musical backing. These a cappella moments are common in both Morse's and Spock's Beard's catalogues, so its inclusion is not a surprise, and once it is over the song gets going proper - kicking into a pretty up-tempo rocker with soaring synth melodies early on and faster verses with a chunky hard rock beat and some strident Morse vocals. It is one of those positive, poppy Morse prog songs that he has been writing for many years at this point. The guitars are largely in the background this time, with Gillette mostly providing some crunchy rhythms, with most of the main melodies coming from the synths. Cinematic organ backs the soaring, melodic chorus - whilst old-fashioned, warm synth leads are often thrown into the mix to join pieces of the song together. Big vocal harmonies and utilised during the chorus, too, making use of the whole band, whilst there is another rhythmic vocal-led piece later on which features some more harmonies - before Gillette steps back into the fore with a guitar solo. The final chorus has a classic 1980s key change, too, before, like some of the other songs here, the final couple of minutes descend into an instrumental workout. When the guitar melodies come to an end and some acoustic guitar chords return, the album transitions to Carry You Again, a lighter-touch track overall - which feels typical of the album's core approach of starting slow and building. After the first verse and chorus, the song starts to build - this time around some jaunty drumming and a staccato keyboard melody which easily sticks in the brain. The rest of the song is more upbeat and summery, then, and it does rock, but it never feels as hard rocking as some of the other cuts here - with more positivity overall and strong melodies instead carrying the song. The chorus is particularly hooky, with some simple melodies to get stuck into, whilst a later piano solo feels quite whimsical and different from the other more intense instrumental sections on the album. It is the sort of song that should be something of a hit, as it is filled with memorable melodies and a chorus that stuck in the brain - but some of the instrumental moments are probably just a bit too busy for most.
The brief Shattered Barricade follows - which, although a vocal piece, acts in a manner similar to the instrumentals from earlier in the album. Busy piano and occasional acoustic guitar chords back Morse singing in a somewhat more downbeat manner compared to the previous song - but after only a minute or so the acoustic guitar becomes more prominent and Fully Alive - Part 2 kicks off. Like the original Fully Alive which essentially started the album, Morse, Hubauer, and Gillette all share the vocals throughout - giving the song a bit more variety, and there is a jaunty vibe throughout which returns to the feeling of Reaching somewhat. In classic second part fashion, too, there are similarities between this song and Fully Alive. That song's chorus is expanded upon here, with Morse taking things further vocally, whilst some of the melodies are reprised in a busier and fuller manner. Portnoy really cuts loose here, too, adding some pretty intense drumming to parts of the song - with some of the chorus iterations backed by some surprisingly heavy drum patterns. There is a metallic edge to parts of the song, then, but overall there is an upbeat and summery feel during much of the track - until the end, that is, when one of those Dream Theater-lite instrumental moments takes over with some heavier riffing and double bass drumming from Portnoy. This gives the song a busy and bombastic end, but the album's final song Love All Along then opens slowly - with Mellotron shimmering away as pastoral guitar chords and a gentle tone descends. It is the longest song here at just over 11 minutes, although that is short by Morse's usual epic standards, so it allows itself space to stretch out. As such, the opening moments are slow. Morse sings over this pastoral approach in a gentle manner for a while, whilst spacey synth melodies, occasional guitar lines, and slow-moving piano cut through the atmosphere. Nothing else on the album has really sounded like this, so the change is welcome, and the beautiful textures are given plenty of space to breathe. Even when Portnoy's drums join in, the gentle vibe remains - with a slow-moving beat giving a little bit of a boost to the song without ever making anything feel significantly heavier. Despite this, though, the song does subtly grow all this time. It is not as obvious as it is elsewhere - but by the time Gillette launches into his melodic guitar solo it is clear that the song has come a long way. It does feel a bit rockier by this point, with the bass underpinning the guitar solo nicely whilst more Pink Floyd-esque wordless backing vocals are utilised to widen the sound further. Despite the length of the song, though, the overall vibe does not really change up all that much. Other songs here have felt more varied, especially those which opted to include proggy instrumental sections - but this is not a song that goes down that path. It only really has one core idea, but it spreads it out nicely across the song's runtime and subtly tweaks things as the song moves along. The guitar solo acts as a focal point, too, whilst as the song comes to a close the vocal arrangement changes, with the three-part vocal approach returning once again whilst melodies from elsewhere in the album are briefly reprised. It is very much a full circle ending, then, and it works well for me who loves things like that - with L.I.F.T. ending as well as it opened in my opinion. Overall, then, I have really been enjoying this album over the past couple of weeks. It is easily the Morse album I have enjoyed the most at this point, although I did like Innocence & Danger quite a bit too - I have just listened to this one more intensely so I could cover it here. The mix of Morse's usual style with a more band-like approach really works for me, and I can see this being one of the prog releases of the year. I am looking forward to getting the rest of The Neal Morse Band's albums and then, with my new appreciation for his work in mind, dive back into his solo catalogue.
The album was released on 27th February 2026 via InsideOut Music. Below is the band's promotional video for Fully Alive.
I am not long back from my first trip away in March - which saw me head back to London only a fortnight after my previous trip to the capital. March is certainly one of those busy periods gig-wise for me - and before the month is out I will have seen two more gigs locally, plus another in London and shows in both Wolverhampton and Birmingham. I spent a weekend in rainy London a couple of weeks ago to catch both Sylosis and Smith/Kotzen - so it was nice to return to find the city somewhat dryer this time. Instead of staying in the East End and gigging in both Kentish Town and Shepherd's Bush - this time I stayed in Cricklewood, somewhere I had not been to for a few years, and was gigging in Wembley. I think that it had a been a couple of years since I had last been to Wembley, too, but the reason which drew me back to the OVO Arena was Powerwolf - the German power metal band who have become surprisingly big in recent years. I have been a casual fan of Powerful for a number of years - having first become aware of them via their 2011 album Blood of the Saints when it was their newest release. I have not always kept up with the band in that time, but of late I have paid much more attention. Their last few albums have all been reviewed here - whilst I, before last night, had seen them live twice, albeit somewhat by default. I first saw Powerwolf live back in 2017, on a co-headline tour with Epica, and the next time came at the 2019 iteration of Bloodstock Open Air - where they were Friday night special guests, warming up the crowd before Sabaton's headline set. As such, prior to last night I had not seen the band live for seven years. Powerwolf have not always been regular visitors to the UK in more recent times - with the only UK shows following that BOA set being in 2022 where they played at Download and then in London later in the year. I was always surprised that Powerwolf did not come over here more often, as I was under the impression that they were pretty popular. In some ways, Powerwolf seem to be following Sabaton's route to being genuinely big - at least in Europe. Whether they quite reach Sabaton levels of popularity remains to the seen - but there are plenty of similarities between the two bands. They both play somewhat chunky power metal and have a sound which rarely changes, they both put a lot of effort into their larger-than-life stage shows, and they both have a schtick. In Powerwolf's case, that schtick is werewolf and Hammer-esque horror themes. Over the years I have started to tire of the gimmicky end of power metal, which all too often consists of style over substance and an inspiration well which soon dries up, but Powerwolf have strong enough songwriting chops and a charismatic and unique enough singer to make their one trick seemingly keep working. The band had also impressed live when I had seen them previously, too, even if I felt that they indulged in too much talking in between songs. This was especially the case during the BOA set - during which I remember an especially egregious bit where frontman Attila Dorn taught the crowd to a sing a lengthy bit of a song for at least five minutes, which seemed extremely wasteful at a festival. Despite this, though, I had wanted to see the band as a headline act - so when an OVO Arena show was announced as part of a wider European tour it did not take me long to pick up a ticket. The OVO Arena is significantly larger than the Roundhouse, where the band last headlined here, so their popularity certainly extends to the UK, too, although having power metal legends HammerFall on the bill as a special guest, another band that has rarely visited the UK in recent years, likely helped.
I opted for a seated ticket, so I was quite far back in the arena - but I had a good view of the stage. I was able to take in the stage show nicely as a result - and watch the arena fill up throughout the night. There were three bands on the bill, and opening the night, kicking off around 15 minutes after I got the venue, were Italy's Wind Rose - a folk/power metal band that I had previously seen live in 2019 opening for Gloryhammer. Gloryhammer are a good example of the sort of power metal band I have somewhat gone off in more recent years - and Wind Rose tread quite close to the line, although I casually enjoyed them in 2019 and I did so again last night. They are a not a band that I have given much time to, but they do have a quite interesting sound which is a bit different from most power metal bands. The folk metal influences and melodies help, but they are a little on the heavier side overall - and frontman Francesco Cavalieri has a deep and rich voice which helps the band to stand out. The band do wear costumes, which is a bit of a red flag these days, but their costumes are not all that silly in fairness - and their schtick is the lore of the dwarves from Tolkien's world, mixed with some more generic and anthemic folk metal subject matter. There is a lot to like about Wind Rose, then, and I enjoyed their set yesterday. The sound mix throughout the night was good, and Cavalieri soared above the hard-driving metal of the rest of the band - whilst Claudio Falconcini (guitar/vocals) added some great riffs and shredded solos, and Federico Meranda (keyboards) added most of the folky melodies. Wind Rose did not have a huge amount of time to play with, so they kept the talking to a minimum and powered through a handful of fairly majestic and folky songs with relatively ease. Some of the choruses were hooky, and overall I liked the band's approach to songwriting. There is an epicness to their sound which rarely crosses over into silly territory - and the songs largely came across as sincere, which I appreciate in power metal. The main red flag for Wind Rose, though, is that their most famous song is a novelty cover on an online meme-type song, albeit from years ago, which the crowd went bonkers for. Diggy Diggy Hole has some catchy melodies, especially Wind Rose's rocked-up version, but the inane chorus is essentially everything I do not like about gimmicky power metal these days - and the number of blow-up pickaxes that were being waved about in the crowd basically summed up everything that I am not into about the current power metal scene. It is a shame, really, as Wind Rose's original material is way more interesting than their novelty cover, but they would not be as known without it - so it is likely to be a millstone around their necks forever.
Wind Rose certainly garnered a strong reception, though, and the crowd were very much warmed up for what was to come. HammerFall, easily the band on the bill that I have listened to the most over the years, I thought suffered a little early on from a poorer overall reception - but this changed after a handful of songs and the atmosphere was one again strong. Afforded around an hour, HammerFall had time for 12 songs - and they included a few from their most recent album alongside plenty of fan-favourites from the past. Bands like Powerwolf and Wind Rose would not exist if HammerFall and their peers had not made the European power metal scene boom in the 1990s and 2000s - and tracks like the fast-paced Heeding the Call and the muscular, Accept-like Any Means Necessary, which both came early on, showcased the band's power. I last saw HammerFall in 2022, when they toured with Helloween - and they have delivered each of the handful of times I have seen them live. Last night was no different, with frontman Joacim Cans coming across as likeable as ever whilst his slightly high-pitched vocal delivery remains powerful. The two aforementioned older numbers came early on, but the set opened with Avenge the Fallen from the band's latest album - with gang vocals from the rest of the band shaking the venue's foundations. Riff after riff and chorus after chorus came for the next hour or so - with guitarists Oscar Dronjak and Pontus Norgren trading leads back and forth throughout, whilst Cans covered every inch of the stage. As I mentioned, the first few songs received something of a muted reaction from the crowd, who were probably still folding away their blow-up pickaxes, but the old-school power metal fans in the crowd soon could be heard - and by the time the motorbike sounds of Renegade ran through the venue it seemed that most were now on board. HammerFall are one of those bands that just come across well live. Their songs are generally uncomplicated and built around many classic heavy metal tropes. Despite Cans' easy-on-the-ear voice, HammerFall are often heavier than the fluffier end of power metal - with plenty of NOWBHM in the band's riffing and soloing. There was still plenty of sing-a-long chanting to keep the casuals happy, though, with newer tracks like Hammer High and the evergreen Let the Hammer Fall encouraging sing-a-longs - directed by Cans and the rest of the band. If HammerFall are to have a power metal red flag, then their many lyrics with 'hammer', 'HammerFall', or variations of such is perhaps it - but some slight silliness here and there aside I have always found HammerFall to be a straight ahead and traditional heavy metal act. Stomp-along numbers like Last Man Standing showcased this, whilst it was good to hear three new songs in the set - with the faster-paced The End Justifies a real throwback to the band's early days thanks to David Wallin's (drums) double bass drumming and a melodic thrash approach. There really were no weak moments during the set, with (We Make) Sweden Rock and Hail to the King both conjuring up plenty of singing as the set came towards its end - whilst the ever-present set-closer Hearts on Fire rounded things out nicely. HammerFall rarely disappoint, and they did not do so last night - showcasing at the same time that power metal in the 2020s does not have to be full of gimmicks to succeed. The setlist was:
Avenge the Fallen
Heeding the Call
Any Means Necessary
Hammer of Dawn
Renegade
Hammer High
Last Man Standing
Let the Hammer Fall
The End Justifies
(We Make) Sweden Rock
Hail to the King
Hearts on Fire
After around half an hour, as HammerFall's gear was cleared from the stage and a curtain came down to cover everything - the lights went down and Powerwolf took to the stage. For the next two hours, the large crowd was treated to a bombastic show full of gothic power metal anthems, a lot of fire, and a majestic stage set. In terms of performance, the band were great, and the setlist was a good mix of most of the band's albums - whilst focusing on the most recent ones. The fast-paced Bless 'Em with the Blade kicked things off, and from the off the live sound mix was great. Dorn was in fine voice throughout, his booming vocals soaring above the rest of the band, whilst fill-in guitarist Dom R. Crey did a great job with the leads and soloing. Guitarist-wise, this tour has been a bit strange - with lead guitarist Matthew Greywolf originally planning to sit the tour out for unspecified reasons, with Crey filling in for him - only for rhythm guitarist Charles Greywolf to drop out after a few shows due to a family emergency, meaning that Matthew came back on board. Given that Crey had likely only rehearsed the lead guitar parts, though, Matthew instead played the rhythms - but the somewhat make-shift guitar pairing worked well. Falk Maria Schlegel (keyboards) was high in the mix, too, and overall the band sounded powerful. The sing-a-long Armata Strigoi followed on quickly from Bless 'Em with the Blade, keeping the early energy moving - but this was the only time during the show that two songs were played back to back. My main criticism with Powerwolf live before was the amount of in-between song talking - and this was also the case last night. I do not want to be too negative, as the show was great and the actual musical performances were top-notch - but I really wish the band would just let it flow sometimes. Each time a song came to an end, the two guitarists would walk off stage, and Dorn would stroll back out having already popped off and talk to the crowd for two-to-three minutes before the next song started. He never had anything insightful or interesting to say, either, and it was all the usual inane things that seasoned gig-goers have heard many, many times - and encouraging the crowd to make yet more noise. Of the band's two hours on stage, I would guess that at least half an hour of that was taken up by talking - and honestly I would just rather the band cracked on. I am not sure that anyone really enjoys just cheering for the sake of it - and the band would have heard plenty of noise had they played more songs. I will largely just talk about the songs and the show now, as I have made my point, and there really was a lot to enjoy. The setlist was largely just anthem after anthem. The sweeping, more mid-paced numbers tended to work the best for me, with epic numbers like Dancing with the Dead and Demons Are a Girl's Best Friend really coming alive on stage. A highlight from a stage-set point of view was the piano-led 1589 - which culminated in Schlegel being burnt at the stake. Another big 'show' moment was the somewhat doomier Kreuzfeuer, which easily featured the most pyrotechnics of the night - as Dorn was lifted into the air on a big pillar. The mix of faster-paced numbers and mid-paced anthems was generally well ordered throughout the set, whilst the lone ballad Where the Wild Wolves Have Gone provided something of a welcome change of pace later on. The energy levels kept going right until the end, too, even if the forced stop between each song hindered things overall, with big-hitters like the folky Heretic Hunters and We Drink Your Blood coming towards the end of the main set. The were a break following the latter, but the band were soon back for a three-song encore, including the big Sanctified with Dynamite and the closing anthem Werewolves of Armenia - which was preceded by the most egregious timewasting of the night. Despite this, though, the song was a strong ending anthem - and the show overall was certainly a spectacle. The setlist was:
Bless 'Em with the Blade
Armata Strigoi
Sinners of the Seven Seas
Amen & Attack
Army of the Night
Dancing with the Dead
Incense & Iron
1589
Demons Are a Girl's Best Friend
Kreuzfeuer
Fire & Forgive
Resurrection by Erection
Where the Wild Wolves Have Gone
Heretic Hunters
Joan of Arc
We Drink Your Blood
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Opening: Angus Dei
Sanctified by Dynamite
Blood for Blood (Faoladh)
Werewolves of Armenia
Wolves Against the World
My criticisms around timewasting and my wider dislike for gimmicky power metal aside, I had a great time in London last night with Powerwolf and the rest of the bands. HammerFall were likely the band of the night for me, as they are just my favourite of the three, but Powerwolf deserve to be playing in big arenas now - and their stage show was great. If they cut down on some of the silliness and presented a bit more of a fluid and smoother-feeling show then the overall live experience would be much better in my opinion - but perhaps the antics are a big part of the modern power metal scene and what the blow-up pickaxe waving types want, hence me having moved away the modern the scene to an extent.
As much as I have enjoyed covering a lot of new metal releases so far this year, it is nice to be covering something not as heavy today - and turning my hand to something a bit more straightforward, raw, and packed full of energy. Given that I caught him live earlier this week, delivering as always in Torquay on a bill also featuring Buckcherry, it seems fitting that I am today covering the eleventh solo studio album from the Finnish punk/glam rocker Michael Monroe. Monroe, of course, is most known for being the frontman of the Finnish proto-glam metal/punk act Hanoi Rocks during their two periods of activity, always alongside guitarist and principal songwriter Andy McCoy, but since Hanoi Rocks were laid to rest in 2009, save for a one-off reunion as part of a mammoth concert celebrating Monroe's 60th birthday in 2022, Monroe has focused on himself. He released a few solo albums between the late 1980s and the early 2000s, alongside one-off albums with bands like Jerusalem Slim and Demolition 23., whilst Hanoi Rocks were not together - but I generally see his current solo career as something a bit different from that original run. Those early solo albums were more traditional solo albums, with Monroe and a number of different guests and session players running through a handful of original songs and quite a few covers on each release. Only 1989's Not Fakin' It made any kind of real dent - but since re-launching his solo career in 2010 with the raw live album Another Night in the Sun: Live in Helsinki, Monroe's solo career has remained consistent and relatively high profile. This consistency has largely been down to Monroe keeping essentially the same band together since that 2010 live album. He has often said that this current venture is more of a band effort than a true solo career in any case - and that has been borne out by the overall quality of the band's efforts over the past 15 or so years. Guitarist Steve Conte, bassist Sami Yaffa, who goes back with Monroe many, many years, and drummer Karl Rockfist have played on all of the current era Monroe solo albums - whilst guitarist Rich Jones has been around since 2014, and has played on all but the first two studio releases and the aforementioned live album of the current era. In terms of songwriting, too, the albums are very much band efforts. Monroe writes songs, but he seems largely content to let the others write - with Jones the biggest contributor in terms of writing in recently. Both Conte and Yaffa have written quite a bit over the years, though, with Rockfist getting a few credits, too. This approach continues on Outerstellar, Monroe's aforementioned eleventh solo album - and the sixth of the current era. It is the band's first effort for four years, since 2022's I Live Too Fast to Die Young! (which I reviewed here), and in terms of the classic Monroe sound this latest effort continues to channel it. Monroe's raw, upbeat, punky/glammed up hard rock sound is very much established at this point - and the 12 songs here contain plenty of hooks and attitude. This album does perhaps try something a little different at times, though, with a more noticeable power pop-esque vibe shining through occasionally - especially during the more mid-paced numbers. Monroe has written and performed songs of this nature before, but the sound feels a bit more prevalent here than it has done in the past. There is a smoothness to some of the songs here, then, but there is also still plenty of energy and riffing elsewhere.
This slight change of pace is welcome, as it does help Outerstellar to stand out from the crowd somewhat, but the differences are not night and day. This is very much Monroe's typical style first and foremost - with the opening handful of numbers full of all the energy that would be expected. Kicking off with lead single Rockin' Horse, the percussive drumming of Rockfist immediately sets the tone. Building around a Yaffa bassline, the fast-paced song is full of fury - with punky, funky basslines underpinning everything, whilst the shuffling guitars of Conte and Jones add choppy rhythms throughout. Occasional tortured, bluesy guitar leads are utilised throughout, but generally this is a riffy and pacy number - with sloppy guitars adding to the bass-led verses, which Monroe sings in a lower register than is typical. He returns to a more typical approach during the hooky chorus, though, which features some gang vocals to make it sound powerful - whilst a short guitar solo is thrown in towards the end. The song is over as soon as it begins - but it gets the album off to a fine start. Shinola is another pretty short number, but it feels a bit more mid-paced overall - with a somewhat anthemic guitar riff leading the charge this time instead of the bass. Songs like this are very typical of Monroe's recent solo career. The riffing is hooky and full of energy, despite the pace not being all that frantic, whilst Monroe's scratchy vocals are full of his usual character. The verses snap along thanks to his punky, raw delivery - whilst the chorus later feels bigger thanks to some smoother vocal melodies and a handful of shout-along moments with more gang vocals. The song came across well live earlier in the week, and I can see the punchy chorus and rock 'n' roll-esque guitar leads ensuring that the piece becomes a bit of a live staple going forward. Black Cadillac is another mid-paced track, but it is much more classic rock-inspired - with less of a punk feel overall. Again, the song is driven by a simple, but massive, guitar riff - and the verses are built around it. The arrangement here pulls that classic trick of the instrumentation largely dropping away whilst Monroe sings each verse lyric - before the band really crash back in to lay down the riff between each one. There is a bit of a stop-start feel throughout, then, but this approach always works well for me - and Monroe's voice has enough character to be able to carry a melody with a limited backing. The chorus is somewhat smoother, and it is the first instance on the album where that power pop vibe can be heard somewhat. There is less grit during the chorus, then, but it works well despite feeling a little different. Given that the song is a little longer than those that came before it, too, there is a bit more time for lead guitar moments - with a lengthier solo coming part-way through. When the Apocalypse Comes channels that smoother vibe a little more, too, with the speed remaining mid-paced - whilst the song opens up with a Beatles-esque guitar melody. There is much less grit here overall, and Monroe sings in a much smoother and more overtly melodic way than usual. He pulls off the style quite well, whilst clean guitar melodies and rim-shot drumming fills the void behind him - with the song building towards a simple chorus which sees subtle vocal harmonies and some bluesy guitar leads sitting over the chiming and melodic main guitar melodies. It is a very enjoyable song as a result - and the easy-on-the-ear melodies make the track a bit of a standout.
Painless returns to something a bit more hard rocking - although it does not really up the pace. The song opens slowly, with some atmospheric guitar melodies - but once the song's main riff kicks in things feel quite a bit tougher. That is not to say that this is a heavy song, though, as there are plenty of 1960s-esque melodies throughout. There is a slight psychedelic feel throughout, then, with some slow-burning guitar leads and a slight sparkle to some of the cleaner melodies - which are grounded by a tight groove from the rhythm section. Monroe again utilises his somewhat smoother vocal delivery here, whilst flowery vocal harmonies are used during certain parts of the song to enhance that 1960s vibe. The song is very retro-sounding, then, and it is quite different to much of Monroe's typical output - despite there still being something of a harder rock groove thanks to the rhythm section and plenty of expressive vocals. After some more mid-paced numbers, the band get back to fast-paced punk on Newtro Bombs - an up-tempo and hard rocking number that channels all of Monroe's usual energy during its short runtime and explosive riffing. The main guitar riffs are snappy and full of hooks, whilst the verses move along at an almost thrash-like speed. There are some metallic overtones to the piece, then, but the guitar tones keep the song grounded in rock and punk realms - whilst the chorus is very much a punk anthem, despite the pace slowing somewhat, due to some massive gang vocals and a snotty attitude. Despite the song very much being typical of the core Monroe sound, there is something of a brief change of pace part-way through due to a reggae-esquse breakdown - with some off-beat guitar stabs and a slower pace before the band really explode again. Disconnected is not as fast as the previous song, but it still feels pretty energetic throughout - with the song building from a simple guitar chug and vocal pattern to something much more expansive and hard rocking. The punk pace is reined in a bit somewhat, with Yaffa's bass playing instead often dominating. There are some very bass-led moments - with the verses generally filled with Yaffa's playing whilst the guitars add colour. Despite this approach there is still quite a bit of energy during the verses - but the chorus is where the power of the song really explodes, with Monroe delivering some more chant-along lyrics whilst injecting some pop hooks intro the arrangement. It is another song which went over well live earlier in the week. Precious is somewhat similar overall - with the song being a pretty bass-led, mid-paced, energetic rocker. That good mix of a punk attitude and a glam rock edge which has been Monroe's standard approach since day one is very much on display throughout this spiky number. Leaving some of the smoother vocal approaches behind, this song very much sees Monroe singing in his usual, grittier manner - whilst the cinematic, slightly Wildhearts-esque chorus sees glorious hooks and plenty more gang vocals. Monroe also takes the opportunity here to showcase his instrumental prowess, delivering a lengthy, fast-paced, and bluesy harmonica solo in place of a typical guitar solo. This gives the song a different overall vibe as a result - but the hooky chorus and the overall stomp of the track make it another standout.
Pushin' Me Back is similar again somewhat, but the arrangement feels a bit smoother overall - with less of a punk vibe this time. The early guitar riffing is quite hard rocking, but the guitars generally are quite melodic and smooth at times - whilst Yaffa once again really dominates the verses. He is an underrated and busy bass player, and there is a lot going on throughout the song's verses as a result - whilst Rockfist lays down a percussive beat and the guitars only chime in occasionally. Like a few of the other songs here, then, this is one that builds towards its chorus. The chorus is harder rocking than rest of the song, echoing the intro somewhat, with spiker vocal melodies and more gang vocals. It is a chorus that sticks in the brain, then, with the attitude of the song really shining through - whilst a bluesy guitar solo later adds some additional melody. Glitter & Dust slows things down and goes for a more acoustic-based arrangement overall - with a bright drum beat laying down a pattern over which melodic acoustic guitar chords are laid. Despite the sparse arrangement at times, the song does not really feel like a true ballad. The drums during the verses feel too upbeat for that - whilst Monroe's expressive vocals and some subtle strings keep things from feeling sombre. The rest of the band crash in for the chorus, too, and the vibe again does not feel all that ballad-esque. The acoustic guitars continue throughout, but the harder rocking chorus gives the song a real kick - and there is a powerful, emotive guitar solo later on that builds on some of the song's main melodies and its core vibe. Rode to Ruin gets back to the album's core mid-paced sound, building up again following the sparser previous number to something guitar-driven and filled with attitude. The main lead guitar melody here and the slight folk/punk groove from the rest of the band bring The Gaslight Anthem to mind at times - but there is a much rawer approach taken here thanks to Monroe's typical vocal approach, as well as the use of gang vocals and a snarl during the chorus. The song is perhaps not as potent as some of the others here thanks to the overtly melodic guitar approach, but there is enough of the band's core sound here to make the song work well - and the chorus is another that any rock fan is sure to enjoy. The album then comes to a close with the fairly lengthy One More Sunrise - a seven-plus minute track which does some different things. Monroe's songs are generally short, so having something longer here is a surprise - but it is another with strong power pop vibes. Early on Monroe sings against a melodic guitar and accordion backing - but soon the song starts to move at a laid back, poppy pace with shuffling drumming and chiming, summery guitars. Monroe's smoother vocals are utilised again here, which sound especially good during the light and sing-a-long chorus - which is full of those power pop melodies. Laid back guitar soloing comes in later, before Monroe lets rip on his saxophone - during a slightly jazzy, slower instrumental section. There are a few instrumental sections here, which is welcome, with some busier guitar solos coming later on. This ensures that the song does not outstay its welcome, and the chorus which keeps coming back around always feels fresh. It is a song that has certainly grown on me since first listening to the album - and this longer form writing from the band has worked here. Overall, then, Outerstellar is another strong album from Monroe and his band - and is likely my favourite of his for a while. The subtle variety is welcome and there is still plenty of that punk goodness that makes him tick. He showed no signs of slowing down earlier in the week, and with albums like this still being made there is hopefully plenty more to come from Monroe over the years.
The album was released on 20th February 2026 via Silver Lining Music. Below is the band's promotional video for Rockin' Horse.
After two fairly quiet months, despite those two months including four very enjoyable and different gigs, 2026 is about to really kick into gear from a gigging perspective. I have mentioned on this blog before already this year that March was going to see things change - and from now until the end of the year gigs tend to come at a pretty regular pace. I do not think that 2026 will be quite as busy as 2025, but I will be seeing some very notable shows this year - and there are bands old and new that I am very much looking forward to seeing. I am next away at the weekend, but a busy March got underway yesterday relatively locally - with a post-work drive from Plymouth to the Devon town of Torquay, which is fast becoming, outside of the Bristol, the South West's premier gigging hotspot. Both Plymouth and Exeter, much bigger conurbations with student populations and history when it comes to live music, should hang their heads in shame - but their loss is currently, seemingly, Torquay's gain. With The Foundry gaining prominence over the past few years, and the recent opening of the Arena Torquay, which are a stone's throw from each other, alongside the more formal Princess Theatre for an all-seated experience, Torquay's music scene is starting to thrive. In the past couple of years alone I have seen Kris Barras and his band, Cradle of Filth, and The Wildhearts all tread the boards in the seaside town - and later this year I will be seeing both Steve Hackett and Black Stone Cherry. Other bands of note have played the town, too, and that has pleased us South West gig-goers - even if the town takes longer to get to than it should due to the state of some of the roads which link it to the A38. I am sure that I will continue to make semi-regular trips to the town, though, and the drive is generally worth it - with the venues in easy reach of plentiful on-street parking and, perhaps more importantly, a Wetherspoons. The reason for last night's trip to the seaside, then, was a co-headline show featuring the California-based sleazy hard rockers Buckcherry and the Finnish Godfather of Glam Michael Monroe. Like most tours that both acts tend to undertake here in the UK actually, it was quite extensive - with a number of dates to choose from. Torquay was the obvious choice in this instance - and it was a show that I had had the ticket for for quite a while. Whilst I am only really a casual fan of Buckcherry, despite listening to both 2005's 15 and 2008's Black Butterfly quite a lot during my teens, I am a pretty big fan of Monroe. Expect a review of his latest album Outerstellar to follow shortly, and his show in Bristol last year was memorable for all the right reasons. I first saw him back in 2011 at the final iteration of the High Voltage Festival, and had seen him as a support act a handful of times since - but that Bristol show last year was the first time I saw him as a headliner. The energy that he and his excellent band brought to the Thekla made for a memorable evening of punk and proto-hair metal that had everyone singing along - and he is now one of those acts that I will see as often as is possible. As such, a fairly local show, even a co-headline affair, was a no-brainer - and with Buckcherry on the bill it gave me an opportunity to catch up with some of their newer albums and see them live for the first time in a number of years. Given the post-work traffic, the drive to Torquay took longer than usual - but I was still there in plenty of time and, following dinner in Wetherspoons, soon took my place on The Foundry's balcony ready for the night.
Unlike some shows I have been to recently, this was a snappy evening. The two co-headliners played for an hour each - with the sole support act afforded half an hour. The change-overs seemed smooth, too, so there was little waiting around - and the evening flew by as a result. Opening the show were the Boston-based alternative rockers Rubikon - a slightly strange band who seem to have been around for a few years at this point. Sound-wise, I thought Rubikon had plenty of that American post-grunge sound of the 1990s/2000s in their sound, but perhaps with a little more of a funk edge thanks to some busy bass playing and the occasional Alice in Chains-esque vocal harmony. Despite some decent riffs, though, Rubikon did not do all that much for me. Visually, the band were quite a mish-mash of different styles, so they did not look like a very coherent band, and their overall sound was a bit too leaden for me - lacking in big hooks and melodies. Some of the choruses did pop to an extent thank to the aforementioned vocal harmonies, with the drummer adding quite a bit of vocal weight, but nothing really stuck in the brain - whilst the riffing was largely all of a type I had heard a number of times before, with a handful of decent guitar solos. The band were certainly soldiering on through some difficult circumstances, though. The bass player was having issues with his instrument during the first couple of numbers - and the frontman was suffering from food poisoning. He did not look all that well at all in truth, and probably should not have been on stage, but got through the set without incident - and everything seemed to be approached in good humour. Despite this, though, the band did not really garner much of a reception. The venue was still filling up whilst Rubikon played, and there was not much an of an atmosphere during their set. From my balcony view I could see a handful of people singing along, but there was not a huge amount of energy created during the night - and it seemed that the band left the stage without making much of an impact. With only half an hour to play with, though, the band did not outstay their welcome - and I have certainly seen worse over the years.
The overall levels of quality were about to shoot up, though, and after only around 15 minutes a percussive intro tape started to play and Monroe appeared up on the balcony - climbing down to the stage as his band joined him in a more conventional manner. They proceeded to rip through 14 songs in an hour, kicking off with the shout-along Dead, Jail or Rock 'n' Roll, delivering another excellent set. The show was not as good as the Bristol one last year, as it was shorter and the overall sound mix was not quite as clear, but Monroe and his band never disappoint. It was good to hear some different songs, too. Three songs from the new album were featured, whilst a few different numbers from his days with Hanoi Rocks were included this time. It was a more familiar Hani Rocks number in Motorvatin', opening as ever with Sami Yaffa's (bass guitar/vocals) busy playing, that followed the harmonica-led barroom rock of the opening number, though, and by this point the atmosphere in the room had raised significantly. Given the nature of the tour, there was perhaps less focus on his solo stuff - with Hanoi Rocks material accounting for around half the set. There were likely to be a few casuals in attendance, but no-one seemed to mind the song choices - with plenty down on the floor singing along or just getting swept along with the performance. Monroe's music is hard to ignore - and the short nature of each song means that melodies, riffs, and hooks are constantly coming. Some of the highlights for me, though, were actually the new songs. The new album is both familiar and different, mixing punky hard rock with some smoother power pop vibes - but the three songs culled from it were all high-energy rockers. Rockin' Horse came fairly early on, but it was perhaps Shinola that stood out the most - with another big shout-along chorus and plenty of snappy riffing from both Rich Jones (guitar/vocals) and Steve Conte (guitar/vocals). Big favourites from Monroe's solo catalogue including Last Train to Tokyo and the ever-present Ballad of the Lower East Side, the latter of which came later in the set, kept things pretty up-to-date, then, whilst a nice moment saw the band take a break to wish one of the members of their crew a happy birthday. The atmosphere did lift even further during some of the older Hanoi Rocks cuts, though. It was nice to hear I Can't Get It live, a song I am perhaps less familiar with, but tracks like the sugary ballad Don't You Ever Leave Me and the hard rocking Malibu Beach Nightmare, complete with an excellent saxophone solo, had everyone singing along - as did the sole cut from Monroe's 1990s band Demolition 23., Hammersmith Palais. The hour was very much just a whirlwind of energy from start to finish, then, which is typical of Monroe's shows. He climbed all over the amps and speakers, getting up close and personal with the crowd, and by the time he ended with Up Around the Bend he and the band left the good-sized crowd wanting more. The setlist was:
Dead, Jail or Rock 'n' Roll
Motorvatin'[Hanoi Rocks material]
Old King's Road
Rockin' Horse
Last Train to Tokyo
I Can't Get It[Hanoi Rocks material]
Shinola
Hammersmith Palais[Demolition 23. material]
Disconnected
Don't You Ever Leave Me[Hanoi Rocks material]
Boulevard of Broken Hearts[Hanoi Rocks material]
Ballad of the Lower East Side
Malibu Beach Nightmare [Hanoi Rocks material]
Up Around the Bend [Creedence Clearwater Revival cover]
The changeover between Monroe's set and Buckcherry was a little longer - but it did not feel all that long. As such, it was not long before the lights went down and Buckcherry, led by sole original member and frontman Josh Todd, took to the stage - and the five-piece filled the next hour with lots of riffy, sleazy hard rock. I had seen the band live twice before - both of which were as an opening band in half-full arenas. As such, I do not feel that I had ever really had the true Buckcherry live experience before - and I found myself really enjoying the full hour despite only ever really being a casual fan of the band. Todd was much better vocally than I remember him being previously - and the band's songs are certainly made for busy clubs like The Foundry rather than half-full arenas. A few had left after Monroe's set, which is typical of co-headline arrangements, but there was still a healthy crowd in attendance - and there was plenty of singing and dancing during the band's groovy and, often, lewd, songs. The golden oldie Lit Up got things underway, with Billy Rowe (guitar/vocals) driving the song both in terms of his riffing and his brief solo - but largely it was long-time guitarist Stevie D. that took the lead in terms of soloing. The snappy chorus of Lit Up had plenty down on the floor singing - and the next hour took in a fair amount of the band's catalogue. Four songs from last year's Roar Like Thunder made an appearance, with the title track coming up after Lit Up, whilst other relatively newer cuts like So Hott and Good Time sat alongside oldies like Ridin' and Gluttony. Despite the band's sleazy and loose sound, the band felt tight and powerful throughout. The riffing of D. and Rowe was just loose enough to bring the songs to life, but not so much so that the set felt sloppy, and the hard-hitting drumming of Francis Ruiz added a metallic edge at times - with a surprising amount of double bass drumming. Todd is a strange frontman, but he had the crowd going from the off. His shuffling, grooving movements give him an off-kilter and edgy vibe - and he was strong vocally, which differs from some of my previous memories of Buckcherry shows. The rest of the band added harmonies and gang vocals when needed, especially during the punchy Say Fuck It, but Todd was really the focus throughout - save for D.'s brief guitar solos. Rowe added some strong slide guitar licks and rhythms, too, adding to the band's bluesy edge - with this vibe coming together nicely on groovy tunes like Good Time. Fan-favourite ballad Sorry was also wheeled out, towards the end of the set, but before long the hour was almost up and Buckcherry launched into a lengthy version of their signature tune Crazy Bitch - complete with band introductions and snippets of many other songs. The medley brough the curtain down on another strong evening of live music - with Buckcherry impressing as a live act more than I expected them to. The setlist was:
Lit Up
Roar Like Thunder
So Hott
Ridin'
Let It Burn
Come On
Say Fuck It [Icona Pop cover]
Gluttony
Sorry
Good Time
Blackout
Crazy Bitch/Get Up (I Feel Like Being a) Sex Machine [James Brown cover]/Bad Girls [Donna Summer cover]/Irresistible Bitch [Prince cover]/Proud Mary [Creedence Clearwater Revival cover]
Monroe and his band were certainly the act of the night for me, as expected, but Buckcherry were also very good. I thought that they might struggle to follow Monroe's energy, but they had their own vibe and enough in attendance who were fans to ensure that they took the spotlight for themselves - and their pairing worked well overall. It was good to get out for the night, too, and it was another successful night in Torquay as a result.
With the exception of Karnivool's atmospheric new album, pretty much every new release that I have covered here so far this year has been on the heavier side. 2026 has been a great year for metal so far, and there is plenty more to come over the coming months, and the heaviness has been welcome. Two classic thrash acts have delivered the goods so far - alongside a couple of newer acts proving that the older bands do not need to have all the fun. Today's piece covers easily the heaviest album of 2026 reviewed here so far, though, as the Reading-based modern metal four-piece Sylosis dropped their seventh studio album The New Flesh last week. Sylosis, to me, still feel like a new band - but they have long been a part of the furniture at this point, with the band having been formed back in 2000 and their first EP Casting Shadows following in 2006. Despite first coming into contact with the band in 2009, as part of a tour also featuring DragonForce, Sabaton, and Glamour the Kill, it was not until 2011 and the release of second album Edge of the Earth that I really started to pay attention. Sylosis were too heavy for me back in 2009, but by 2011 my tastes had changed - and I remember listening to Edge of the Earth a lot despite it still being at the extreme end of my tastes at the time. Over the next few years, Sylosis became one of my favourite up-and-comers. I saw them live a few times, both as a headline act as well as opening for other bands, whilst two more albums followed before they entered a quiet hiatus in 2016 - with bandleader Josh Middleton joining Architects on a permanent basis. I was gutted that the band appeared to be over, but I got the sense that Middleton was struggling to push the band forward onto bigger things - and was getting frustrated as a result. Looking back, there was perhaps something of a glass ceiling which was holding Sylosis back - with the band's intricate and complex material too progressive for the metalcore/melodic death metal crowd, whilst the music was too heavy for the prog crowd. The band were not away for too long, though, and in 2019 they came back to life - releasing their fifth album Cycle of Suffering (which I reviewed here) in 2020. The pandemic put paid to a proper relaunch, though, so it was not really until some shows in 2022 and 2023's A Sign of Things to Come (which I reviewed here) that Sylosis returned in a big way - and the band have been extremely busy since. The last two albums saw the band simplify their sound somewhat, although 2015's Dormant Heart (which I reviewed here) had started that trend a few years earlier, going for riffier and more anthemic arrangements - with songs written for the stage. This approach seems to have worked, though, with Sylosis now bigger than ever. It is great to see Middleton's hard work over the years now paying off - and the band's recent European headline tour saw them play their biggest headline shows yet. Turning back to The New Flesh, then, it very much feels in-keeping with the past couple of releases - as it somewhat feels like a mix of Cycle of Suffering's riffing and overall heaviness with the anthemic nature of A Sign of Things to Come. This latest effort is not as hooky as the last album, but it mixes those vibes nicely with some of the intricacies of the past - so it ticks a lot of boxes for me. It is band's first album with the current line-up, too, as former bassist Conor Marshall has picked up the guitar to replace long-time guitarist Alex Bailey - with Ben Thomas (Venom Prison) stepping in on bass. Long-time drummer Ali Richardson rounds out the line-up.
Production-wise, this album is as razor-sharp as is typical for the band - with the experimentations with synths and clean vocals which have become more prominent in recent years present here also. Middleton's riffing and lead guitar style is very much the same as ever, though, whilst his vocals are perhaps their strongest and most diverse here - which is something he tends to build on from album to album. Kicking off with Beneath the Surface, the song somewhat fades into view - before a staccato main riff kicks in, and the band builds around these guitar stabs. Pace-wise, the album is quite varied. Sylosis have often had prominent thrash influences on show, and the opening song showcases this to an extent - whilst other songs later on are more groove-based. Sylosis really started making use of groovy riffs in a big way on the last album, and this approach has been brought forward here. The verses here are a good mix of thrashy mid and faster-paced sections, with some particularly fast instrumental moments that feature some venomous Richardson drumming, with a more headbang-worthy chorus that ends in some groovy riffing. Other songs utilise grooves more effectively, but they act as a point of difference here - breaking up the thrashier and more metalcore-esque moments nicely. The arrangement here already feels a bit more involved than many of the songs on the last album - and Middleton's first guitar solo on the album is shredded and full of smooth melodies. Erased, one of the album's singles, then simplifies things somewhat - essentially going for a mid-paced groovy approach throughout. The opening riff is slab-like, and simpler than Middleton's typical approach, but this works well to blend into a similar verse - which is full of 1990s Machine Head-esque guitar patterns and pinch harmonics, whilst Middleton barks the vocals with real power. Some parts of some of the verses see the band speed up, but largely this is a mid-paced track - with cold synths adding depth, and occasional gang vocals building on the anthemic nature of the previous album. The chorus is sung clean, and Middleton's clean vocals on this album are easily the best he has done to date. He does not have a huge range but he gets the job done - and this slightly grungy chorus is hooky thanks to an underlying guitar melody. A later bridge and breakdown section returns to the song's core groovy approach, with an bludgeoning and repetitive instrumental section which recalls classic Pantera somewhat - which was clearly made for the stage. All Glory, No Valour ups the intensity significantly - and the gang vocal-led track may well be the heaviest and most hard-hitting thing here. The opening riffing is quite mid-paced, but things soon speed up - and this is a track which is very much packed full of thrashy influences. Richardson's double bass drumming really drives the song forward, whilst the shout-along chorus introduces a hardcore feel at times thanks to how simple it is. The overall pace of the song is capitalised on, though, with some great lead guitar moments, with some shredding being deployed after the first chorus, whilst Middleton also showcases some slightly higher-pitched screams during parts of the chorus, too. There are still groovy moments, too, such as another slower breakdown section - whilst a gang vocal version of the chorus works well with its simpler drum backing before another fast-paced guitar solo. Thrash and hardcore sit side-by-side nicely here, and the song is another made for the stage.
Lacerations, another single, feels like a more complex version of Erased arrangement-wise. Like the earlier song, there is a lot of mid-paced groovy riffing here early on - but things do speed up as the verses kick off. Aside from the chorus, which is another sung clean, the verses actually turn the clock back somewhat to the riffing, speed, and vocal approach of Edge of the Earth and 2012's Monolith. Despite the song's arrangement being more straight ahead, the riffing and guitar patterns feel old-school then - although it is clear how far Middleton has come as a singer as he feels more varied here in his harsh delivery. Occasional blast beats and shredded guitar leads keep the pace and energy moving - whilst the chorus is one of the more epic moments in the Sylosis canon, with a surprisingly emotive and melodic clean vocal delivery allowing it to stick in the brain. This is the sort of song which is likely to be a fan-favourite for years to come - and will please those who feel things have become a little too simple of late. Mirror Mirror is another song which features more of a hardcore-based approach, and it reminds me a little of No Saviours from the band's last EP The Path (which I reviewed here) from 2024. I do not mind an occasional hardcore influence, but this song feels a bit too hardcore for me overall - and I have never thought that a more chest-beating approach really works that well for Sylosis. It is not a terrible song, but compared to much of the rest of the material here it falls behind. The riffing throughout is a bit less interesting than usual - with the song clearly focusing more on attitude than hooks or interesting arrangements. This approach seems to have become a part of Sylosis' sound of late but, thankfully, it does not seem to dominate that often. Spared from the Guillotine gets things back on track, though, with the song really picking up the pace and going for a big-time thrash approach during much of the song. The opening riffing and much of the first verse features some of the fastest riffing on the album - whilst elsewhere the intricate arrangements of the past are brought back to an extent with a good mix of grooves and some prominent guitar leads. A Pantera vibe once again rears its head during parts of the song, particularly the few more mid-paced sections - whilst gang vocals are once again utilised sparingly to add to the overall energy that the song generates. Pace, grooves, and guitar technicality all fuse here to create something memorable. Adorn My Throne goes for a slightly different sound - and there is something of a symphonic edge here. Whilst not sounding like something from the band's past, it certainly feels more progressive than much of the album - with a good mix of riffing styles, a much more prominent use of synths, and some excellent guitar melodies. Semi-whispered vocals are utilised during quieter sections, whilst Middleton also delivers some of his deepest growls elsewhere - and even some occasional black metal-esque shrieks. There is a lot of variety here, then, and I really like how the chorus sounds grand thanks to the synths. The black metal influences are on show during a later, fast-paced bridge section - which is then followed by one of the floatiest solos on the album. It is one of those songs that reveals a new thing with each listen - and it is likely to become a real favourite as a result.
The album's title track follows, which also acted as its first single. It is another pretty fast song overall, but the opening riffs have some strong mid-paced grooves to kick things off - even if when Middleton starts to sing the pace increases. I can see why it was released as the first single, as it certainly mixes the anthemic nature of the previous album, particularly during the gang vocal-led chorus, with some of the flashier riffing and thrash influences of the past. It did not just feel like more of the same when I first heard it - and it acted as a good taster of what was to come. The thrashy moments are a little bit of a throwback to the band's past - but the use of grooves is very much in-keeping with more recent times. There is a lot of soloing here, too, with some speedy shredding early on alongside some more neo-classical melodies during the main solo later on. Everywhere at Once then changes the pace quite significantly - presenting the first true Sylosis ballad. The band have done slower songs before, but they have tended to be murky and atmospheric - likely building towards something heavier. Absent on the last album is the closest comparison - but this song feels more genuine in the ballad stakes, with clean vocals throughout and acoustic guitars dominating the verses. The chorus is heavier, but Middleton still sings clean - and the backing largely just ups the power of the music without really leaning into a truly metallic territory. Middleton has improved as a clean singer but I would not say that he has a great range. Despite this, though, he injects plenty of emotion into the piece - with the chorus really pushing him as a clean singer. A slow-burning and more melodic guitar solo adds to the overall vibe nicely later, too, and the ballad works well even if it does not really sound or feel like Sylosis all that much. The penultimate song gets things back to a more typical approach, though, with Circle of Swords opening with some venomous mid-paced grooves and surprisingly venomous, higher-pitched vocals before thrashier riffing takes over. This is one of those Sylosis tracks which feels a bit all over the place style-wise. It harks back to the earlier days somewhat as a result, and the arrangement is quite chaotic - with lots of thrashier moments sitting alongside groovy riffs and a few moments which even hint at a more tech metal approach with angular riffing and sparser drum patterns. The riffing throughout is great, it just takes a few listens to fully piece everything together. The album then comes to a close with Seeds in the River, a pretty groovy, mid-paced track overall. Again, though, this is a song which harks back to the band's older albums somewhat - and the arrangement is a bit more complex. Bass-led sections appear during some of the verses, which allow for a brief moment of respite before the next big riff, whilst those classic Sylosis little guitar lead moments are often utilised elsewhere in the verses to add additional melody. Snappy riffing adds a simpler edge at times, but there are also knottier moments - with blast beats again occasionally utilised. There is a lot going on here, then, but things hang together more coherently than the previous song - with the clean vocal-led chorus adding a point of difference and something melodic to build towards. Given the involved nature of the songwriting and the slightly epic approach added by the clean vocals, the song feels like a true album closer - with the chorus one of the hookiest moments here alongside another great guitar solo. Sylosis have never disappointed despite their changes in approach over the years, and The New Flesh is another very strong album from the Reading band. There are a lot of memorable songs here which cover a range of styles - and I like how some of the intricacy which was less prevalent on the previous album has been returned to here. This is an album I keep coming back to for more - and I can only see my opinion of it increasing as I become more and more familiar with it.
The album was released on 20th February 2026 via Nuclear Blast Records. Below is the band's promotional video for The New Flesh.
As I alluded to in my previous review here, which covered Sylosis' excellent London show last Friday, it was good to get back on the road this past weekend and take in a couple of gigs. 2026 has been somewhat barren so far, despite things picking up shortly, so the past weekend away was very much a welcome one. Multi-gig trips away are often tiring, and the later gigs can sometimes suffer from being overshadowed by the earlier ones, but they often work out well economically - and it was nice to spend a bit more time in London this past weekend. Given that I planned the trip as one, too, which is rare, I stayed in the same hotel for both nights. This meant that on Saturday I did not have to kill time between hotel stays - and it meant that I could take things easy on Saturday if I wanted to. I did head out for a bit of a walk around the East End, largely to get something to eat, but I mostly enjoyed a chill day and something of a lie-in. It was not the greatest day weather-wise, either, so I did not venture too far. It is nice to see that it has not just been the South West that has been battered with rain in recent times, though, and there was some pretty impressive flooding across the country which could be seen from the train on the way up. The weather was certainly not as bad as it had been at times of late, but it was not a nice day - and following a lengthy show the previous day some quiet was welcome. The reason for the second night in London was to catch the duo of Iron Maiden's Adrian Smith and musician's musician Richie Kotzen on the tour for their second album together Black Light/White Noise (which I reviewed here). The duo often seem like an unlikely match, given Smith's staunch NWOBHM past and Kotzen's career which has taken him from being a Shrapnel-era shredder, through stints in Poison and Mr. Big, to now being something of a multi-genre singer-songwriter who is beloved by guitarists especially the world over. Despite this, though, the pair's efforts so far have been fruitful. Two albums and an EP of pretty groovy and soulful hard rock have been released - and the first album was also supported by a brief run of shows. Clearly wanting the project to build some momentum, though, this second album has been supported by a much lengthier tour - including a healthy number of UK shows in decent sized rooms. I knew that I wanted to catch the duo live, but I had not decided which show to go to - so Sylosis booking their London show for the day before Smith/Kotzen's show at the O2 Shepherd's Bush Empire made the plan finalise itself. The fact that the Kris Barras Band, a fairly local act to me that I have followed for a few years now, was later added as the support act for the whole tour made the night an even more exciting prospect. As such, the show was one I was looking forward to quite a bit - and I had been enjoying getting back into the two Smith/Kotzen albums in the weeks prior to it. They are certainly closer to Kotzen's current core sound than much of Smith's career - but bluesy hard rock is generally something that I enjoy, and the mix of Smith's more-than-competent vocals and the soulful vocal style of Kotzen is a big part of what makes the duo an interesting one.
Sadly, though, on getting to the venue it was clear that Barras and his band would not be performing. He had pulled out of the show the night before due to illness, but with no further updates on social media during the day I had hoped that he felt well enough to play - but signs were up throughout the venue advising the crowd otherwise. A last-minute replacement has been sought, then, with local act Vieira and the Silvers taking Barras' place. Despite the doors opening at 7pm, though, the support act did not start until 8pm. Given that there was a 45 minute break between the support and Smith/Kotzen, too, there was an awful lot of hanging around. This seems to be a growing problem at gigs of late - and I would much rather doors opened later or shows finished earlier, as no-one enjoys hanging around waiting for something to happen. Vieira and the Silvers played for around half an hour, and they managed to win quite a few around despite a slow start. In terms of vibe, the band seemed to mix the proto-punk/garage rock sounds of bands like The Stooges and MC5 with the brasher end of Syd Barrett-era Pink Floyd. There was a strong late 1960s rock vibe, alongside a blues edge and some psychedelic moments. They were probably not the right band for the gig really, but the crowd did seem to enjoy them as the set went on. The band's frontman said during the set that it was the biggest gig they had ever played - but they did not seem over-awed by the occasion. In fact, the frontman was animated throughout, often making strange vocalisations to add to the brash instrumentation - which often then led into the next lyric. Sound-wise, then, despite the obvious retro vibes, I did feel that the band sounded quite original. Meandering arrangements, plentiful harmonica, and the occasional tortured guitar solo eschewed many classic rock tropes. There was still strong riffing and grooves throughout, but each song seemed to move through many different phases - so it was tricky to get a hold of any key melodies as a result. Despite this, though, I thought that the overall vibe the band delivered was strong. They clearly want to do something different from the norm, and I felt that they delivered their off-kilter sound with real confidence - despite the big occasion for them. They are not the sort of band that I would listen to at home - but I did not dislike their half an hour on stage, and I would not be surprised if they started to make a bit of a name for themselves on the alternative rock scene in due course.
Following a rather dull 45 minutes waiting for the main event, the lights went down and some Bad Company played over the PA as Smith/Kotzen took to the stage - with the four-piece launching into Life Unchained from the latest album. Smith and Kotzen traded lead vocals and guitar all night, and were backed by Julia Lage (bass guitar/vocals) and Bruno Valverde (drums). The four-piece were tight, but there was still a looseness to the material which helped the riffing and melodies to come to life. The vocal interplay was not exactly Daryl Hall & John Oates or the Eagles, but Smith and Kotzen weaved their voices together well - and I was of the view that most of the songs sounded better live than they do on the albums. I like the albums, but I think I ended up enjoying the show more than I expected to - largely due to the live punch given to the material. The 16-song set contained 14 originals, one Iron Maiden number and one of Kotzen's solo pieces. These two covers came near the end, so the bulk of the show just presented the two albums and lone EP nicely. Early highlights included the faster, shuffling Black Light and the very Bad Company-esque Glory Road - with its smooth chorus which was boosted by some extra vocals from Lage. With the exception of the covers, no one singer dominated any song - either vocally or from a guitar perspective. The exchanged vocal lines really helps to keep the songs sounding fresh - and the differing guitar styles allowed for a lot of exciting instrumental moments. I had not seen Kotzen live before, so was immediately impressed with his playing. He is known for his fast-paced and smooth style, often without a plectrum, and he really owned the night in my opinion. This is to take nothing away from Smith, who sang well and delivered plenty of excellent solos - but Kotzen is a rare talent. This was especially apparent on an elongated Hate and Love, which was stretched out with some more soloing - whilst simpler, more straight ahead hard rockers like Taking My Chances saw plenty singing along. A couple of overly drunk people aside, who seemed keen to annoy those around them, the overall vibe was strong. Clearly there were lots of Iron Maiden fans in attendance, but the overall vibe was different. This material is more grounded and, at times, laid back - and everyone was out to have a good time with some feel-good bluesy rock. There were slower and more plaintive moments in the set, too, though such as the fantastic Darkside which was one of the overall highlights of the night. The chorus has always stuck with me since first hearing the song, and it came alive on stage with plenty of soloing. The band were suffering from some tech issues around this point, though, with Lage's bass amp cutting out. A brief break was taken after Darkside whilst this issue was fixed - but the crew managed to sort things quickly and the band were soon back out rocking, with Smith delivering some tasty slide licks during Got a Hold on Me. There was not an awful lot of time left by this point - but there was time for a few more, including the hard rocking White Noise and the smoother Running which is a favourite of mine from the first album. The main set then came to a close with a powerful version of Iron Maiden's Wasted Years - with Bruce Dickinson, who had been watching the show from the balcony, joining the band to sing it. Everyone in the crowd sang along, and it felt like the most powerful moment of the night - with the band leaving the stage briefly afterwards. A two-song encore followed, though, with Kotzen's You Can't Save Me getting a cheer and adding a downbeat, grungy vibe to the set - before a blistering rendition of Solar Fire brought the band's powerful set to a triumphant close. The setlist was:
Life Unchained
Black Light
Wraith
Glory Road
Hate and Love
Blindsided
Taking My Chances
Outlaw
Darkside
Got a Hold on Me
White Noise
Scars
Running
Wasted Years [Iron Maiden cover w/ Bruce Dickinson]
-
You Can't Save Me [Richie Kotzen solo material]
Solar Fire
Despite some technical issues threatening to derail the set part-way through, the band battled through and delivered a powerful show that exceeded expectations. I expected to enjoy the show, but this is the sort of material which really excels live. It was also nice to see Smith in a smaller venue - and also to see Kotzen for the first time. This duo seems to have legs, and I would not be surprised to see a third album and another tour at some point in the future.
