Michael Schenker Group - Wolverhampton Review

Despite a busy last few years of touring, it has been a decade since the German guitar wizard Michael Schenker went out under the Michael Schenker Group (MSG) name. Ever since leaving UFO in 1978, MSG has been Schenker's main musical outlet - but in recent years the MSG name has been jettisoned in favour of other Schenker-related projects. The early-to-mid years of the 2010s saw Schenker touring as a member of Temple of Rock, a band which was formed to celebrate all of Schenker's diverse career - as well as to write new material that took on a slightly heavier vibe than much of his other work. Following Temple of Rock coming to an end, Schenker spent the rest of the 2010s touring with Michael Schenker Fest - a souped up version of MSG that featured a number of the band's classic members playing lengthy sets that celebrated many of the different eras of the band. As great as Michael Schenker Fest was, I imagine that their tours were quite challenging logistically. They required a lot of schedules to neatly coincide, and the multi-frontman approach meant that the tours were a big commitment in return for relatively little time on stage for some of the touring party. I imagine that everyone involved had a great time on those tours however, and the Michael Schenker Fest project also led to two strong albums featuring new songs written by Schenker and many of his classic collaborators. Earlier this year, however, Schenker returned to the MSG name again - and released the first album under the name since 2008's In the Midst of Beauty. Immortal however, which was released to celebrate Schenker's 50th year in the music business, felt more like the third Michael Schenker Fest album than an old-fashioned MSG release. MSG has generally always had a set line-up, with each of its previous studio albums being true band releases, but Immortal featured another sweeping line-up of guests - with some new faces teaming up with some of Schenker's regular collaborators. Immortal is a strong album, although it can feel a little disjoined as a result - but it contains some of Schenker's heaviest and most furious songs for quite a while. Schenker's 50th anniversary celebrations have unsurprisingly been disrupted by the COVID-19 pandemic, but with the UK open for business again at the moment he decided to take the chance to debut the new live MSG line-up here with a run of four shows which had previously been postponed. The one that made the most sense for me was a Saturday night in Wolverhampton at KK's Steel Mill - a relatively new venue that has already gained a strong reputation. Joining Schenker on this run of shows are previous MSG members Steve Mann (guitar/keyboards/vocals) and Bodo Schopf (drums); alongside two new faces in frontman Ronnie Romero and Barend Courbois (bass guitar/vocals).

Before Schenker took to the stage. however, the large crowd that had already gathered were treated to around 45 minutes of classic heavy metal from the German singer Doro Pesch and her band. Doro has been rocking since the early 1980s, first with Warlock and then with her own self-titled band, and she brought all of her experience to Wolverhampton. Despite putting on a strong set, I felt that she struggled to get large portions of the crowd on side throughout her time on stage - which was a shame considering that she is a very well-known in the rock and metal world. Those of us down at the front, however, were getting into what she was doing - and Pesch's set was very enjoyable. I had seen her once previously, opening for Saxon in 2018, but the Wolverhampton set included a few different songs. A lot of her classics remained in situ however, and a couple of old Warlock songs opened up the night. I Rule the Ruins and Burning the Witches got the set off to a strong start, and there were plenty of people down the front singing along to their anthemic choruses. The set contained a good balance of old and new, with songs from Pesch's recent solo albums sitting nicely alongside the Warlock classics. The fast-paced Blood, Sweat and Rock 'n' Roll was a good representation of where Pesch is now; as was the anthemic All for Metal later in the set. Sandwiched in between the two newer songs, however, was the old Warlock song Hellbound - which old-school Pesch fans certainly enjoyed. Given the Judas Priest connection to the venue, towards the end of the set Pesch dusted off her cover of Breaking the Law - which was stretched out with an atmospheric guitar intro courtesy of Bill Hudson (guitar/vocals). It was a fun cover, but in a short set I would have rather heard Pesch play more of her own compositions; but the set-closing All We Are certainly rocketed up the energy one last time. Pesch managed to whip up a bit of a sing-a-long during All We Are - meaning that the set came to a powerful end. Despite certain portions of the crowd not ever really bothering with Pesch's set, she put on a strong showing in Nottingham - and her high-energy performance set the tone for what was to come later. The setlist was:

I Rule the Ruins [Warlock material]

Burning the Witches [Warlock material]

Raise Your Fist in the Air

Blood, Sweat and Rock 'n' Roll

Hellbound [Warlock material]

All for Metal

Revenge

Breaking the Law [Judas Priest cover]

All We Are [Warlock material]

Following a 30 or so minute changeover, the lights went down and Schenker and his band took to the stage with relatively little fanfare. Schenker gave a brief spoken introduction, before he and the band launched into the shredding instrumental piece Ascension - which was dedicated to the late MSG drummer Ted McKenna. Ascension proved to be a powerful introduction to the 23-song two hour-plus set, and it really set the tone for what was to come. Schenker then introduced Romero, and peeled off the riff for the old MSG classic Cry for the Nations. Romero is a singer that I blow hot and cold on, but in Schenker he seems to have found a perfect match. Romero was on fire all night, and his versatile, yet powerful, voice was the perfect foil for Schenker's trademark neo-classical tone. With the exception of a closing run of old UFO numbers, the set was a real mix of eras. Newer songs mixed in nicely with old songs throughout the evening; with enough classics included to keep the casuals interested, and plenty of newer numbers and deep cuts to excite the die-hards. UFO's Doctor Doctor was thrown in surprisingly early in an almost off-hand manner, but it was the soaring Sleeping With the Lights On which was an early highlight due to its hooky chorus. There were a handful of songs from the two Michael Schenker Fest albums played early on, with a few MSG deep cuts slotted in between them. The poppy Looking for Love from the MSG album was a surprise, and the bruising Red Sky also saw a rare outing - which included a fantastic Schenker solo and a great vocal display from the whole band. A couple of songs from Schenker's older bands were wheeled out next, with the atmospheric Scorpions number In Search of the Peace of Mind providing a brief change of pace - before the rollicking Lights Out was a real mid-set sing-a-long.

Given that large portions of the crowd had essentially ignored Pesch's set, some of MSG's set was also greeted by some bemusement - which was a shame. Songs like Lights Out got everyone going, but most of the newer songs and deeper cuts garnered only mild applause. The next portion of the set was such a period, with a few new songs from Immortal wheeled out, as well as a deep cut in Rock You to the Ground. Only really Armed and Ready got the crowd going during this portion of the set; which was a shame as songs like the heavy Drilled to Kill, with some excellent keyboard work from Mann, deserved a huge cheer. The final part of the set, however, did really wake everyone up - and the atmosphere really shot up as a result. It was probably wise to end the show with a mini six-song UFO greatest hits set, which kicked off with a lengthy version of Rock Bottom - morphing into a Schenker guitar workout with a long and explosive solo. The song is always a highlight of any Schenker show, but this time it was just the beginning. Five more UFO songs followed, with highlights being a stunning Shoot Shoot, that had everyone singing along, and a powerful rendition of Natural Thing which included a great guitar solo trade-off between Mann and Schenker. It was left to a barnstorming rendition of the anthemic Only You Can Rock Me, with plenty of Mann's Hammond organ, to bring a set that was packed full of class to a close. The atmosphere by this point was through the roof, and the cheer as the band took to their bows was loud - which in truth they should have been all night. The setlist was:

Ascension [Michael Schenker Fest cover]

Cry for the Nations

Doctor Doctor [UFO cover]

Sleeping With the Light On [Michael Schenker Fest cover]

Assault Attack

We are the Voice [Michael Schenker Fest cover]

Looking for Love

Warrior [Michael Schenker Fest cover]

Into the Arena

Red Sky

In Search of the Peace of Mind [Scorpions cover]

Lights Out [UFO cover]

After the Rain

Armed and Ready

Sail the Darkness

Rock You to the Ground

Drilled to Kill

Rock Bottom [UFO cover]

Shoot Shoot [UFO cover]

Let It Roll [UFO cover]

Natural Thing [UFO cover]

Too Hot to Handle [UFO cover]

Only You Can Rock Me [UFO cover]

This show was one of those from a veteran artist where all of their experience and stagecraft shone through. Schenker was on fire throughout following a long break from playing live, and the new MSG line-up already seems to have gelled - which is impressive considering that this was only their third gig. Schenker does not seem to be slowing down at all despite being in his mid-60s, and I hope that he brings the new MSG back to the UK again soon - as I will definitely be making the effort to see them again.

KK's Priest's 'Sermons of the Sinner' - Album Review

As one half of one of the most legendary guitar duos in metal, Kenneth Keith 'K. K.' Downing Jr. has more than earnt his stripes. Ever since joining the fledgling Judas Priest in 1970, Downing has been turning heads. His partnership with fellow guitarist Glenn Tipton is rightly seen as one of music's most iconic guitar tag-teams, and with Judas Priest he essentially helped to define heavy metal as we know it today. There were heavy bands before Judas Priest, but the Birmingham-based band arguably were the ones to truly solidify all of metal's tropes - and move it away from its basis in the blues. By the time the 1980s rolled around, the blues was essentially absent from Judas Priest's canon - and their sound essentially helped to pioneer heavy music for the next decade. The NWOBHM was a natural continuation of what Judas Priest had been doing throughout the 1970s, and by this point the band had also established the look of the genre - with leather and chains being a big part of the band's image as the 1980s rolled around. In recent years, however, it has become apparent that for much of the band's heyday Downing was never truly happy with his place in the band. In his recent autobiography Heavy Duty: Days and Nights in Judas Priest, Downing made it clear that he always felt overshadowed in the band by Tipton - who often took the lion's share of the guitar solos. He also expressed the view that not enough of his ideas were developed into songs by the band; all of which, along with some disagreements with the band's management, led to him stepping away in 2011. Originally, Downing's departure was labelled as a retirement, but in recent years it has transpired that that was probably only ever a smokescreen - which has been hinted at in numerous cantankerous interviews which Downing has given over the years. Especially since releasing his book, Downing has been ready to tell anyone who will listen about all of his gripes relating to Judas Priest. These gripes, however, have not stopped him trying to return to the band on a number of occasions, especially following Tipton's recent semi-retirement due to Parkinson's Disease, but (perhaps wisely) the band have kept him at arm's length. It is a shame to see Downing reduced to something akin to the 'old man yells at cloud' memes; but at least over the past couple of years he has at least made an effort to return to what he is good at - music. Downing officially formed KK's Priest last year, following a one-off show in Wolverhampton the previous year, and earlier this month the band's debut album Sermons of the Sinner was released. Whether KK's Priest is a good name for the band or not is a debate for another day, but it is clear exactly how Downing is trying to market himself here - and Sermons of the Sinner is very much in the classic 1980s/1990s Priest mould. Joining Downing in this venture is another Judas Priest alumnus in Tim 'Ripper' Owens (who fronted the band between 1996 and 2003); alongside guitarist A.J. Mills (Hostile), bassist Tony Newton (Deeds; Voodoo Six), and drummer Sean Elg (Nihilist; Cage; The Three Tremors). Sermons of the Sinner is very much Downing's project however, as he is credited for the writing and producing the album - with the rest of the band all singing to his hymn sheet.

The album starts off slowly, with the atmospheric and spoken word intro piece Incarnation. Considering that the album generally is pretty much a full-tilt old-school heavy metal album, Incarnation feels a little out of place. It sounds more like something that belongs on a power or symphonic metal album, and it is not something that Judas Priest have ever really done - with the exception of the band's sprawling 2008 concept album Nostradamus. Given the album's pretty relentless pace, it would have probably been better just to launch into the music - and as such the album truly begins when lead single Hellfire Thunderbolt kicks in. Given Downing's on-going spat with his former band, it does not surprise me that the album, and Hellfire Thunderbolt in particular, really go for the throat. Judas Priest's 2018 release Firepower (which I reviewed here) opened with a bang, and Downing is clearly trying to show that he can rock just as hard. It should be stated here that Sermons of the Sinner is not as good as Firepower, which could genuinely be seen as one of Judas Priest's best, but it is still a fun slab of old-school metal for the most part. Hellfire Thunderbolt is one of its best tracks too, with a driving main and a fast-footed drum performance from Elg. Owens, who I have always been a fan off, announces his presence with one of his trademark screams - and the fast-paced song really suits his demonic vocal style perfectly. The song, along with most of the others here, never really lets up at all. The pace is fast throughout, and the razor-sharp guitar tones help the song to really stick. Downing's riffing is as good as ever here too, but credit should also go to Mills who has formed a solid partnership with Downing. The two solo well throughout the album, and Hellfire Thunderbolt includes the first of many solo trade-offs. Throw in a simple, but memorable, chorus, and the song is a strong Priest-like cut that is a lot of fun. The album's title track follows, and it takes a bit of a grander overall sound initially with some choral and organ work - but in general the song is very similar to Hellfire Thunderbolt. The pace is very fast, again, and Elg shines throughout due to his performance. He lays down a lengthy drum intro early on, while his different beats throughout help the song to become one of the more varied on the album. The pace is fast, but there are occasional slower sections that allow the drums a chance to breathe. These slower sections also feature some prominent bass playing from Newton, who is generally quite high in the mix which gives the album as a whole real depth. The album's title track is another enjoyable song, and it features possibly Owens' most unhinged vocal performance on the album - with his constant high-pitched screams helping the song's overall atmosphere in a big way.

Sacerdote y Diablo is not quite as furious. It is still a heavy song, but overall it feels a bit more dynamic. Elg's drumming is not quite as reliant on double bass rolls this time, and as a result the song feels a bit more rooted in the 1980s. The riffing throughout is chunkier too, and occasional little lead breaks help to accent the relentless riffing. Owens sounds different too. The screaming of the opening two songs is largely absent here, and instead he sings in his evil-sounding mid-range voice - and his style here is very similar to that which he adopted when he was a member of Iced Earth. As much as I like Owens' high-pitched screams, I am glad that he took more of a toned-down approach here - as song after song of screaming would have been quite fatiguing on the ears. The creepy overall sound, the more varied pacing, and the great guitar work throughout make the song one of album's strongest in my opinion - and it is one that I can imagine going down very nicely live. Following three strong opening songs, however, the album takes a dip in quality starting with Raise Your Fists. Easily the weakest element of the album is its lyrics (Downing is clearly not a lyricist), and the next few numbers are plagued with some of the cringiest and most generic heavy metal lyrics ever. Some of them make Manowar look like poetry, and I have to wonder what Downing was thinking when he penned them. Musically, Raise Your Fists is not bad. It is a fairly standard mid-paced metal anthem with some solid drumming and some decent riffs - but the lyrics let it down. How many songs at this point have been written like this over the years? The world certainly did not need Downing to write another like this. Things get worse, however, with Brothers of the Road. Considering that this band has never been on tour together, I am not sure how they can consider themselves 'brothers of the road' - and the lyrics are some of the worst ever written about going tour. With treats such as Turnin' up the gas 'til the engines explode and We're brothers of the road and we rock, the song is one of the most generic and cliché songs ever written. It does not help either that is is more of a hard rocker than a true metal song; which does little for Owens' voice. I like Owens a lot, and he is great at what he does, but he is quite limited. Singing mid-paced hard rock is not his forte; and his overly dramatic performance only serves to make the lyrics sound even sillier. Metal Through and Through also suffers from bad lyrics, but the song is at least quite interesting musically. It is one of the more dynamic songs here, with a good mix of lumbering bass-led sections and faster portions that feature great shredded guitar lines. Newton, who I have been a fan of for a number of years via Voodoo Six, puts on a great showing throughout the song. Given his studio experience, he also mixed the album with Downing - which has allowed him to give his bass plenty of presence. The bass playing is certainly more prominent here than on the average Judas Priest album, and Newton's playing makes Metal Through and Through more interesting than it otherwise would have been.

Wild and Free gets back to the relentless pace of the earlier, and the song is a real shot of adrenaline following a few mid-paced pieces. Owens' vocal performance throughout is strong, and packed with plenty of ear-splitting screams, but once again the lyrics are awful. In fairness, it is the last song on the album with noticeably bad lyrics, but they are still quite off-putting despite the song itself being quite catchy. Musically it is a lot of fun, and the energy throughout is great, but with lyrics like We can't be wrong, we're wild and free the song can never reach any sort of height. If KK's Priest continue past this album, I really hope that they up their game in the lyric department. I know that Downing intends any future albums to be more band-centric releases, but I am not sure that Owens is much better as a lyricist. Maybe Newton, who has always been Voodoo Six's main songwriter, could take over the lyric writing - but something really needs to change as the album has a bit of an amateurish feel at times due to the awful lyrics. Thankfully the two closing songs suffer much less from this plague - and they are two of the album's strongest cuts. Hail for the Priest sees the choirs of the album's title track returning, but this time used within more of a mid-paced context that allows the band's musicians to flex their muscles somewhat. Newton's bass playing is busy and filled with lots of tasty runs, while Downing and Mills lay down some neo-classical guitar leads throughout that add some genuine class. Owens sounds great too, with his Iced Earth-esque vocal style returning to really boost the overall atmosphere of the dynamic song. He sounds great during both the slower, murky sections and the faster-paced metal sections - and the song is another vocal highlight as a result. The album comes to a close with the lengthy Return of the Sentinel. It is quite similar in structure to Hail for the Priest, which was also quite lengthy, but Return of the Sentinel is the album's longest song - and also its most varied. The mid-paced crunch utilised throughout helps to conjure up a strong atmosphere; and it is nice that in general the song stays at such a pace. Much of the album is very fast, which helps to kick things up a gear early on, but some variety is always welcome - and the song's mid-pace helps the arrangement to breathe. Given its length, there is quite a lot going on throughout. Both Downing and Mills again have plenty of chances to solo; while the bass remains high in the mix to add counter melodies to the interweaving guitar leads. Owens also sounds great, and generally resists the temptation to go all out - with a grittier performance chosen to suit the crunchy riffing. The song is easily the album's most dynamic cut too, with an acoustic-led section coming towards the end of the piece that is the closest anything on the album comes to sounding like a ballad. This section helps the album to end on a high, and Return of the Sentinel is another highlight for me. Despite this strong ending, Sermons of the Sinner is a mixed bag. It starts and ends well, but is let down by a weak mid-section that contains some of the weakest lyrics penned by a recognised artist. It will be interesting to see if KK's Priest morphs into a full-time band or not, but there is certainly potential here going forward if Downing can recognise his own limitations.

The album was released on 1st October 2021 via Explorer1 Music. Below is the band's promotional video for Hellfire Thunderbolt.

Roger Taylor's 'Outsider' - Album Review

Despite being a founding member of one of the biggest rock bands to have ever graced the planet, as well as being a significant songwriter for said band (particularly during the latter half of their career), Roger Taylor has somehow found the time to maintain a somewhat sporadic, but high quality, solo career. Taylor is, of course, known primarily as a drummer - but anyone who is familiar with his solo work will know that he is proficient at a number of different instruments. Most of his solo albums have largely been so in the truest sense of the world; with Taylor himself handling the vast majority of the instruments heard - as well as taking the lead vocally throughout. While this may come as a surprise to some, those who know their Queen history will know of Taylor's instrumental prowess. He has contributed guitars, bass, and keyboards to a number of Queen songs over the years, particularly those that he wrote, as well as being a strong vocal force in the band - with his slightly raspy voice complimenting Freddie Mercury's perfectly. Even Shove It, the 1988 debut album from Taylor's other band The Cross, was essentially another of his solo albums - although their following two albums were more band-centric releases. Despite this instrumental prowess and a clear creative streak, much of Taylor's time is still take up by Queen-related activities. For the past couple of decades, first with Paul Rodgers and then with Adam Lambert, Queen have been back out touring the world and keeping their music alive. As someone who saw Queen + Adam Lambert back in 2015, it is great that the band are still touring - and following the 2018 release of Bohemian Rhapsody in cinemas the band's popularity is as high as ever. The only downside of Queen's continuous touring is that those involved have little time to dedicate to their solo projects. Prior to earlier this month, Taylor's last solo album, Fun On Earth, was released in 2013 (and that was his first since 1998) - but the downtime caused by the COVID-19 lockdowns presented Taylor with an opportunity to work on new music. The result was his sixth solo album Outsider - which was released earlier this month. The album quite a low key affair musically - both compared to his other solo albums and his work with Queen. Outsider is largely quite an atmospheric and reflective album, with little of the hard rock sound that Taylor is known for. There are moments of it scattered throughout the album, but those expecting to hear Taylor operating at full tilt will be disappointed. What the album does do, however, is to allow Taylor a chance to show of his excellent voice throughout - and the album's minimalist backing allows him to really shine in that regard. A few of the songs here were released as singles over the past few years, but they have been tweaked somewhat to allow the album to have a real flow - and it is a really immersive and atmospheric experience as a result.

As is the case with many of Taylor's solo albums, much of what is heard throughout the album has come from the man himself. There are a few guest musicians featured, as well as some additional keyboard work throughout provided by the album's co-producer and Taylor's old The Cross bandmate Josh Macrae, but on the whole Outsider is a true solo album. The album opens serenely with the delicate, piano-led Tides. The song is a far cry from Taylor's usual roaring hard rock sound, but the atmospheric piece is a perfect backing for his soulful vocal delivery. A subtle bassline and some synth-based percussion add rhythm, but these are mixed into the background - with the keyboards and the vocals being allowed a lot of room to breathe. Big piano chords drive the song, but there is a lot of other keyboard and synth work at play. The layers of shimmering keyboards actually have a bit of a 1970s progressive rock feel at times, while occasional Shadows-esque guitar notes add tiny moments of pseudo-aggression. I was certainly not expecting a song like this to open the album, but it works really well to set the tone for the eleven songs to come - which are generally similar in style. I Know I Know I Know is a bit more full-sounding, with a slow organic drum beat and some rumbling organ washes; but on the whole it is still a gentle song. Taylor harmonises with himself nicely throughout, and his vocal performance during the song is much more full-blooded than the whispered approach taken throughout Tides. Despite the bigger sound, the overall vibe is still similar to Tides - and this is something that really characterises the album for me. Taylor's production and songwriting have really allowed the album to flow, even though some of the songs have a much fuller sound than others. I Know I Know I Know is packed full of layers of instrumentation despite its low key sound, with piano once again being something of a touchstone - alongside the odd dancing synth line. More Kicks (Long Day's Journey into Night...Life) is probably the album's most consistently hard-rocking piece. It is driven by a bluesy guitar riff, with Taylor being backed up by Jason Falloon here, while the organic drums from the previous song return to pack something of a punch. Despite the harder rocking sound at play here, the song has a real stripped-back vibe which allows it to fit in with the rest of the album. It lacks the atmosphere of the opening two songs, but the low-fi sound helps it to sit in the same ballpark - even if some stabbing saxophone lines form Steve Hamilton add a little aggression. Absolutely Anything, which was released a few years ago alongside a Terry Jones film of the same name, returns to the sound established on the album's opening two songs. While there is piano in the mix, however, the song is much more guitar-focused than previously - with gentle acoustic guitars driving the song, and the occasional bluesy electric guitar swell adding depth. The layers of keyboards again have a bit of an old-school progressive rock feel, but in truth this is a song that takes on more of a traditional singer-songwriter style with big acoustic guitars and a heartfelt vocal performance - that again features a lot of self-harmonising from Taylor. The song closes with a lengthy, tasteful bluesy guitar solo too, which I was not expecting, which helps the song to standout - as lengthy instrumental sections are not a common feature of the album.

Gangsters Are Running This World, another older song, is less angsty than it might sound - although two versions of the song are presented here. The song is another piano-led piece, although it is more rhythmic with a strong bass presence and a hypnotic, programmed drum groove. Guitar swells once again add depth, but Taylor's voice is always the most prominent feature - to allow his cynical lyrics to be on full display. As the song moves on, however, it does start to build up a little. The drums become a little punchier, and the guitars take on more of a prominent role with lots of chiming melody lines - which all lead into a strong closing section that sees Taylor singing in harmony with Susie Webb. We're All Just Trying to Get By, which features guest vocals from KT Tunstall is another acoustic guitar-led piece that mixes floaty verses with pulsing choruses. There is a bit of a subtle energy to the piece, but it is still very low key in nature. One thing that I really like about the album is the way that this overall vibe has been maintained throughout - despite a few different musical styles present through. We're All Just Trying to Get By is a good example of this, as it slowly builds towards a powerful crescendo - but even this build still feels natural within the context of the album. The reprise of Gangsters Are Running This World (call the Purple Version for some reason) follows, and it takes some of the lyrics and musical themes from the earlier song and turns it into something of a hard rocker, with stabbing 1980s-esque synths, bluesy guitar riffing, and some of the album's busiest drumming. For a solo album by a drummer, the drumming throughout is pretty low key - but there are a few relatively explosive moments during this song which allow Taylor to show off a little. The reprise of Gangsters Are Running This World feels a little like the album's 'letting its hair down' moment, and it is one of the riffiest pieces on the album as a result. Isolation returns to the album's core sound, with jaunty piano and acoustic guitar chords driving the song - while subtle percussion and a Rod Stewart-esque vocal delivery give the song its edge. It certainly accords with the album's core sound, but there is also something different about the song overall. It feels upbeat at times, but the layers of keyboards are quite dense - while Taylor's vocal approach is a little different. This mix of sounds help the song to stand out, although the overall vibe is similar enough to help it feel at home on the album. The Clapping Song is the album's only cover, and it is a version of an old song written by Lincoln Chase - which has been covered by a number of other artists over the years. The song is one of the album's more upbeat offerings, with an organic drum stomp and some more bluesy guitar riffing. While saxophone was featured earlier on the album, The Clapping Song is the only song here with a bona fide horn section - which helps to add an old-school vibe to the track. The horn section are not overpowering, but they accent the track nicely - and fit in around the stomping drum groove nicely.

The album's title track follows, which starts off slowly before some acoustic guitars and drums kick in to give the song a much fuller sound than it first appears. The guitars constantly add depth, but again there are a lot of layers of different keyboard textures throughout the song. I really like the variety of keyboard sounds that have been used on the album, from retro organs to sparkling synths. Outsider largely goes for a more organic keyboard approach - with shimmering atmospherics and piano again playing a big part in the song's formation. A newly-recorded version of Foreign Sand, from Taylor's 1994 album Happiness? follows; with the song being given a stripped-down acoustic treatment. Jim Cregan, a long-time Stewart associate who played guitar on the original version, plays the acoustic guitars here - and the song is largely just made up of his playing and Taylor's singing. There is a little bit of keyboard depth, but on the whole the track is very simply arranged to allow the guitar lines and the vocals to shine. The stripped-down version of the song works well in the context of the album however, and it allows the original song to be viewed in a different way. The album comes to a close with the somewhat lengthy Journey's End, a very atmospheric piece that in many ways sums up a lot of the musical themes explored throughout the album. It is probably closest in vibe, however, to the album's opening cut Tides; as it really goes for sweeping keyboard textures in a big way. There is other instrumentation throughout, but largely what is being playing is there to add depth and to subtly back up the dense keyboards and Taylor's emotionally-charged vocal performance. The bass playing is very subtle, and there are programmed drum grooves but again they are kept to a minimum. A guitar-led instrumental section, which is more atmospheric than melodic, is a rare change of pace within the song - but this is relatively short lived as it is not long before Taylor takes over again vocally and the song slowly comes to a fading close. The album was never going to end with a bang, and the gentle fadeout works really well to close things out. It also works well reflectively, as it is quite similar sound wise to much of the rest of the album. I am not familiar with all of Taylor's solo albums, but Outsider certainly seems to be his most low key and atmospheric release - and the focus on his vocals throughout is welcome. It is a real mood album, but I really like how it has allowed Taylor to focus on a different side of his songwriting. He has been rocking since the early 1970s, so seeing him sit back a bit and put out an album that focuses more on atmosphere and subtle songwriting twists is a bit of a treat for long-time fans - and I am sure that those who appreciate what he set out to achieve with Outsider will find a lot within to enjoy.

The album was released on 1st October 2021 via Nightjar Productions Ltd. Below is Taylor's promotional video for We're All Just Trying to Get By.

Yes' 'The Quest' - Album Review

When it comes to progressive rock, there are few bands as important to the development and longevity of the genre as Yes. The UK-based band, who formed back in 1968, have been real innovators over the years and their expansive body of work is testament to this. Despite this, I have only ever really been what you might call a casual fan of the band. I like a lot of progressive music, but Yes have never been one of my particular favourites - despite my long-held respect for the band. The type of progressive rock that I tend to prefer is the more song-based variety, and I sometimes find some of Yes' music to be a bit meandering. That being said, when I am really in the mood for some Yes their music really hits home. Sometimes only the band's unique sound will do, and I think that it is fair to say that I have grown to like them more over the last couple of years. My wider appreciation of progressive rock in general has coincided with this increased enjoyment of Yes (I have become quite a big fan of early Genesis recently, for example), but there is still quite a lot of Yes' lengthy catalogue that I am yet to discover. As well as being lengthy, the band's catalogue is also pretty diverse. Yes certainly have a sound, but that sound has taken on many different guises over the years - making Yes a progressive band in the truest sense of the term. 1970s Yes is pretty different from 1980s Yes for example, despite both eras of the band being unmistakably Yes - and that is something that I have always liked about them. In recent years Yes have slowed down as a songwriting outfit, but there have still been a handful of new releases since the turn of the millennium. The Yes of recent years has certainly focused on writing more song-based albums, with much of the lengthy experimentation of their early work largely absent. This has upset a certain portion of the band's fanbase, but I generally have enjoyed their recent output - and I would consider 2011's excellent Fly From Here to be one of my favourite Yes albums. Elements of Yes' fanbase are notoriously strange, and often very fickle, however - so listening to their opinion on anything that the band has released since the mid-1990s is probably not wise. Having said that, however, the band's latest release seems to be have received quite well - at least by recent Yes standards. The Quest, which was released earlier this month, is the band's 22nd studio album (including the two Keys to Ascension albums) and their first album since 2014's somewhat lukewarm Heaven & Earth. Predictably, Heaven & Earth was not generally well received, but I enjoyed it for its laid back vibe and poppy songwriting style. It is not one of the band's best albums however, and in my opinion The Quest is a far stronger release. Some of the relaxing vibes of Heaven & Earth have made their way onto The Quest, but on the whole the band's latest album has much more bite to it - and instrumentally it is much more expansive. It is also the band's first album without any founding members in tow following bassist Chris Squire's death in 2015, but old hands guitarist Steve Howe and drummer Alan White help to keep 2021's Yes a legitimate venture. Replacing Squire is the returning multi-instrumentalist Billy Sherwood - who last featured as a rhythm guitarist on 1999's The Ladder.

While The Quest is essentially an eight-track album, I believe that every CD version of the album released comes with three bonus tracks on a separate disc. According to the band, however, The Quest is not meant to be viewed as a true double album, with the three songs on the bonus disc being additional extras. As such, this piece will focus on the main album - although the three additional songs are enjoyable in their own right and act as a mini EP to compliment the main event. The album opens with one of its strongest cuts in my opinion, and one of the best Yes songs for a number of years: The Ice Bridge. Written by singer Jon Davison and keyboardist Geoff Downes (with some melodies Downes accidentally borrowed from a Francis Monkman (Curved Air; Sky) piece on a music library that he thought was his!), the song contains all the classic Yes hallmarks - and it feels like an old-school melodic Yes track with modern production. The opening keyboard melody is very old-school, and Emerson, Lake & Palmer-esque, but it does not take long for Yes' trademark sounds to rise to the surface. Sherwood has perfectly re-captured Squire's classic growling bass sound, which propels the song's early sections, while Howe's occasional jagged, jazzy guitar leads add a slightly chaotic edge. Arguably the standout performer throughout the song, however, is Davison. On his second album with the band, he has really stepped up - and his performance throughout The Ice Bridge really channels all of the classic Yes vocalisms, while adding a little of his own power. He does sound quite a lot like Jon Anderson, but there is a more of a smoothness to his voice that suits the modern Yes sound - and the way he floats above the cacophony of rumbling bass and busy synths beneath certainly brings those classic 1970s Yes albums to mind. One thing that really sets The Quest in general apart from Heaven & Earth to me is the fact that there is a lot more soloing and instrumental expressiveness throughout. The Ice Bridge contains a fantastic, lengthy instrumental closing section that sees Howe and Downes trading solo spots - with shimmering synth leads and fluid jazzy guitar melodies colliding and dancing around each other perfectly. All of these elements help to ensure that The Ice Bridge is modern Yes at their best, and it is a great way to open the album. Dare to Know, written by Howe, is less in-your-face, but it opens with a great progressive instrumental section that showcases Howe's unique playing - as well as how well Howe and Sherwood can lock in together to lay down subtle grooves. Another thing that the band lost with Squire's passing were his vocal harmonies, but Howe seems to have stepped up in this regard throughout the album - and much of Dare to Know is sung somewhat in harmony. Davison and Howe teaming up helps to create the song's floaty atmosphere - although busier instrumental breaks shake up the vibe in a way that only Yes can really achieve. The song is rich, with layers of acoustic guitars and Downes' Hammond organ adding depth, but the overall melodies remain generally quite simple. It is a song that reveals more with each listen however, particularly during the instrumental breaks, so it is one that rewards repeated spins.

Minus the Man, which is the first of two Sherwood compositions, is a bit more vocally-driven. Sherwood has been a part of a number of prog-cum-AOR projects over the years, and Minus the Man certainly feels like something that could have fit on one of those albums - but the presence of Davison's voice and the occasional Howe guitar lead ensures that the song still feels like Yes. The simple chorus certainly has a bit of an AOR feel, however, and is complete with a soaring Howe guitar pattern that really boosts Davison's hooky vocal melodies. One thing that I really notice throughout the album, and alluded to earlier, is how important the bass is to Yes. Squire really drove Yes' sound in the way that a guitarist usually would, as Howe is not really a riff player, and Sherwood has really nailed that sound and style throughout the album. It shows throughout Minus the Man in particular as the overall arrangement is one of the album's most simple - so the bass is constantly there plugging away, while Howe and Downes add their magic atop it with flowing melodies and dense atmospherics. Leave Well Alone is the album's longest song at just over eight minutes, so unsurprisingly it is one of the most complex. The opening is somewhat more upbeat than is typical for the album, with White's potent drum beat and some driving, 1980s-style pompous keyboards, but this vibe is relatively short lived - as soon much of the instrumentation drops out to leave Davison and Howe singing against a simple acoustic guitar backing. As with Dare to Know, much of the song sees Davison and Howe singing together. This helps to add to the song's overall downbeat vibe at times, at least early on - although the stabbing keyboards from the intro return after a few minutes and the song springs to life. I really like how the song constantly shifts in tone as it moves along. Upbeat sections sit perfectly alongside more acoustic-based and atmospheric parts; and the overall transitions are classic Yes. The song still hangs together well though despite this, and like The Ice Bridge it is another piece that allows the band to indulge instrumentally. Howe's lengthy guitar solo, backed by some great White drumming, sounds as jazz-influenced and off-kilter as ever - but the melodies he conjurors up really add to the song overall, and the solo is a joyous closing moment as a result. The Western Edge, the second Sherwood composition, has some of the AOR vibes of Minus the Man - but with arguably more Yesisms and a greater dose of prog. Sherwood sings some of the song too, with him and Davison trading vocal lines throughout, while his bass playing really helps the song along - which is important as the pace often changes throughout. Howe's guitar playing certainly takes a bit of a backseat during the song, but this only allows the bass and Downes' spacy synths to shine - which help to form a bed for the melodic vocal interplay.

Future Memories, a solo Davison composition, is the album's gentlest song - and also its only real ballad. There are no drums at all, and Davison is the dominant force throughout with his shimmering vocal melodies and acoustic guitar playing. Davison handles much of the song's main guitar presence, but Howe adds some trademark effects-heavy notes and leads to root the song firmly in the Yes canon. Fretless bass and subtle washes of organ add depth when required, but on the whole the song is pretty simple arrangement-wise. Yes have often included songs like this on their albums, and Future Memories allows the spotlight to be shined on Davison as both a singer and as a songwriter - while the rest of the band subtly support his vision. Music to My Ears opens quite gently too, with Downes' piano melodies and mellotron backing, which soon morphs into an acoustic-based verse that once again sees Davison and Howe singing together. The song is the third of three Howe compositions here, and it is easily the most relaxed of the three. The song is largely rooted in acoustic guitar chords and a whimsical attitude, which Downes backs up with his spacy mellotron and synth flourishes, but there are occasional moments of chaotic instrumentation such as when Howe and Downes launch into brief discordant bursts of noise that punctuate Davison's piercing vocal melodies. Moments like this help the song to really stand out, and stops it from being a simple, acoustic-based sing-a-long. Flourishes like this have always defined the Yes sound, and I really like how the band have managed to stay true to that throughout the album. Music to My Ears is improved hugely thanks to this experimentation, as is the rest of the album. The album then comes to a close as it started, with a Davison/Downes composition. A Living Island is less dramatic than The Ice Bridge, but it is still a multi-part piece that builds as it moves along nicely. It opens with piano and Howe's acoustic guitar melodies, but much of the song, at least early on, is driven by Davison - who's voice is given real prominence in the mix. He particularly shines during the song's chorus, which is simple but infectious, while occasional musical flourishes such as an understated keyboard solo add additional depth. As the song moves on, however, it gets more majestic. The tide really turns for me with Howe's grand guitar solo, which is much more traditional-sounding than usual with soaring melodies, which sets the scene for Davison's closing, rousing vocals. The guitar lines occasionally punctuate Davison's singing - and the last couple of minutes of the song is characterised by this rich overall sound and the mix of guitar and vocals. The album does not end on a bang, but the grandness of A Living Island's closing section works just as well for me - and the song is another highlight as a result. It is also one that really sums up the album overall for me, as The Quest has a real flow to it in a way that Yes' albums often do. For me, The Quest is a really strong album in the context of modern Yes. There are lots of great melodies to enjoy, and the instrumental bite that was missing from Heaven & Earth has returned. It is certainly not a ground-breaking release, but it sees the band playing to their strengths and having fun - which can only be a good thing.

The album was released on 1st October 2021 via InsideOut Music. Below is the band's promotional video for The Ice Bridge.

The Fallen State - Plymouth Review

The Fallen State are one of those bands that I have been into for quite a while; but only really became a 'true' fan of over the past couple of years. I have been aware of the band since the release of their debut EP, as the band's original singer Ben Stenning was doing some ballsy direct Facebook promotion and brought them to my attention, but it was not until seeing the band headline in London in 2019 that everything truly fell into place. By the time I was stood in the 229 with a good number of other fans of The Fallen State, the band had released their strong debut album, 2019's A Deadset Endeavour, but had also amassed an impressive collection of EPs. I enjoyed all of the EPs, but it was great to finally hear a full-length album from the band. I had wondered if the band were experimenting with a more modern approach to releasing music; especially as their first three EPs all contained three tracks each and were released in quite quick succession; but with the album they seemed to truly 'arrive' and settle on a sound. With the band's early EPs, there was a diversity of sound on offer. Some of the songs reminded me a little of modern hard rockers Heaven's Basement, while other songs looked to America and the sound of bands like Creed. A Deadset Endeavour saw the band settle however, and I think that is what made the 229 show so good - as the band was filled with a confidence in their new sound and the large crowd really helped them along. I had seen the band live twice previously, once headlining the Underground in Plymouth and once supporting Tremonti in Birmingham, but the 229 show took things to another level. It came as a shock then earlier this year when Stenning announced that he was stepping down from the band. I had never been the biggest fan of his voice, but over time he really grew on me - and he was also a great frontman. He was one of those singers that really drew you in live, and I was sad to see him leave a band that seemed to be really gaining some traction - especially following the release of A Deadset Endeavour. His replacement, Adam Methven, was unknown to me, but the first single released with him, Knives, impressed. It still sounded like The Fallen State, but a little heavier - which is certainly no bad thing. With a new album due out in January, and a big tour with Stone Broken following, the band decided to head out on a tour of their own to road test both their new line-up and some of the new material. The tour was their first since 2019, and it kicked off at The Junction in Plymouth. I have been to The Junction a lot in recent weeks, so it was great to be back - and with a strong three-band bill the evening promised to be an enjoyable one.

Up first was the Newton Abbot-based three-piece Ethyrfield, who I saw recently at The Junction opening for Diamond Head. The band released their debut album In Delirium earlier in the year, and are starting to a make a bit of a name for themselves with their sound that forges grunge and progressive metal together to create a heavy, rich sound. With three bands to get through, and the fact that their songs are generally on the longer side, Ethyrfield only had time for five songs - but they impressed as always with their riff-based sound and their strong use of vocal harmonies. Their live sound mix was quite muddy (a problem which would resurface later) and very drum-heavy, but the band still rocked. Four of the songs played came from their debut album, and it was nice to hear a few different cuts this time. The opener Sunstroke remained in situ however, with Zach Cornish (vocals/bass guitar) and Ben Cornish (guitar/vocals) trading vocal lines back and forth, before they took a rare trip back to one of their older EPs for Free the Dog which was much heavier. The band's newer material is much more dynamic however, with the progressive side of their sound shining through. The snaking Laying On of Hands demonstrated this; as did the lengthy Serenity - which shifts back and forth between heavy, riff-based sections and gentler moments. A vocal-led section towards the end which saw much of the instrumentation drop out showcased the band's arranging skills, and it is always great to hear a young band with such intricate compositional skills. It was left to the album's closing number Bitter Wishbone to bring the set to an end, and those in attendance made their appreciation known. Despite a less-than-ideal live sound, Ethyrfield again demonstrated why they are starting to make waves - and I am sure that I will end up catching them live again soon. The setlist was:

Sunstroke

Free the Dog

Laying On of Hands

Serenity

Bitter Wishbone

The tour's main support act Dead Man's Whiskey followed, and also impressed. Out of the evening's three bands, their live sound mix was probably the clearest of the night and that allows their 1980s-inspired hard rock to shine. Dead Man's Whiskey are clearly fans of a lot of 1980s hair metal and hard rock, and they are not afraid to showcase this. Lots of their songs were packed with riffs that could have come from the 1980s, and frontman Nico Rogers made sure to include a few good screams just to remind everyone that their heads were certainly in the past. Despite this, however, Dead Man's Whiskey still had a tough sound, which meant that they sounded more akin to bands like Jackyl and Junkyard than Poison or Warrant. This gritty approach to 1980s hard rock suited Rogers' voice; while Billy Kons' (guitar/vocals) leads were very bluesy - which again fit in with the overall sound perfectly. I was not familiar with the band before the gig, beyond having heard their name a few times, but having now seen them they are a band that I feel I need to check out further. Their overall sound is one that I like, and a lot of the songs were quite memorable on first listen - with a big riff or a memorable chorus helping each song to stand out. While the turnout could have been better, there were still quite a few people in The Junction by this point, and there were a few Dead Man's Whiskey fans down at the front. This meant that there was generally quite a strong atmosphere while the band was playing, but there was also quite a bit of talking from those at the back - which is always disappointing and guaranteed to hinder my enjoyment of a show. The band did not seem to notice however, and managed to elicit quite a strong reaction from those of us who were paying attention. Their final song, Racing Bullet, even managed to whip up quite a loud sing-a-long - so the band's set ended on a high which set the tone nicely for the evening's headliners.

Half an hour or so later, The Fallen State took to stage and launched into one of their new songs Knives. The heavier song worked well as a set opener, but it was clear from the off that the set was going to be plagued with sound problems. Methven, playing his very first gig with the band, was barely audible at all during the first couple of songs - and even though his microphone was turned up as the evening went on he never had the opportunity to power through the mix like he deserved to. Methven's vocals were not the only thing to suffer from the overall very muddy sound however, as the guitars constantly fluctuated in volume. Sometimes they were really loud, then they were really quiet, then one was much louder than the other, and they even appeared to cut out or dramatically drop in volume altogether a couple of times. I am really not sure what the problem was, but it hampered my enjoyment of the gig. I have been to The Junction a number of times in recent weeks, and the sound has always been very clear. For whatever reason, however, The Fallen State really suffered. It was one of those gigs where it was sometimes hard to tell what song was being played, which was not helped by the talkers at the back who had really lost interest by this point. The sound isuses were also not helped by the fact that the band were quite rusty, and Methven was feeling his way into the band, but the overall performance was still passionate and I am sure that things will click properly after a few more shows. Despite all of this, however, I still enjoyed my time with the band - and the setlist included a lot of the band's best songs. Sinner whipped up some early excitement from those of us who were paying attention with a bit of a sing-a-long, while the personal favourite Sons of Avarice went down well with its murky guitar melodies and a ripping solo from Jon Price (guitar/vocals). The hard-hitting Attitude was another early highlight with its big chorus, before Paradox from A Deadset Endeavour got a live airing for the first time. In total, there were four songs that were played live for the first time - with three of the songs from the upcoming album debuted. The anthemic Standing Tall is certainly going to become a live favourite, while the heavy River (complete with Price's eight-string guitar) came towards the end to shake things up with some real weight. In between, however, there were a couple of slower songs to lighten the mood with the atmospheric Fragments and the fan-favourite power ballad Nova changing the overall pace - with the latter in particular encouraging a lot of singing. It was left to the golden oldie Hope in Revival, with its big chorus, to close out the evening, and the band certainly received a strong reaction as they left the stage - which was nice to hear despite the sound issues that they had faced throughout. The setlist was:

Knives

For My Sorrow

Sinner

Sons of Avarice

Burn It to the Ground

Attitude

Paradox

Lost Cause

Standing Tall

Fragments

Send Up the World

Nova

Drum solo

River

Hope in Revival

It was great to see The Fallen State live again, but it was a real shame that the poor sound throughout stopped the gig from reaching its full potential. It is always a shame when, for whatever reason, a clear mix just cannot be achieved - but the band soldiered through and put on a real energy-filled performance. The rustiness that was also affecting the band at times will wear off after a few more shows too, and I am sure that by the time I see the band again in January with Stone Broken that they will be back to their best. Methven certainly has the voice to do the old material justice, and I am liking the slightly heavier sound of the new material. Things are certainly looking positive for the band generally, but I hope that the rest of this tour does not suffer from the same sound issues that plagued Plymouth.

Tremonti's 'Marching in Time' - Album Review

Two of the most prolific songwriters in modern hard rock must be Myles Kennedy and Mark Tremonti. If they are not writing songs together for an upcoming Alter Bridge album, then they are writing songs for their other projects: Kennedy for his solo albums and his on-going collaboration with Slash, and Tremonti for his solo band. Alter Bridge's last album, Walk the Sky (which I reviewed here), came out in 2019. For me at least, it was a bit of a return to form following 2016's somewhat weak The Last Hero (which I also reviewed here). Despite the band's relative productivity, they tend to take a break following an album's touring cycle to allow its member to indulge in their other projects. True to form, following the Walk the Sky tour Alter Bridge entered into a bit of a dormant period. I am not sure what affect the COVID-19 pandemic had on the band's plans, as I think that much of their Walk the Sky tour had already happened by March 2020, but either way the band was put on the backburner. As a result of this downtime, Kennedy released his second solo album, The Ides of March (which I reviewed here), earlier this year, and has recorded another album with Slash which is due out next year; while Tremonti has been busy writing and recording the fifth album with his self-titled band. I hesitate to call the Tremonti albums true solo albums, as Tremonti has always had more a band feel than that of a true solo project, but Tremonti's albums have always been spearheaded by their namesake. The first Tremonti album, All I Was, was released back in 2012 - and the band have been going from strength to strength since. I have enjoyed all of the band's albums, but perhaps their finest work to date is 2018's ambitious concept album A Dying Machine (which I reviewed here). As good as the three albums that preceded it are, everything really seemed to come together nicely on A Dying Machine. It was a great mix of heavy riffing, slightly progressive arrangements, and a strong alternative rock atmosphere - all of which showcased Tremonti's skills as both a guitarist and as a singer. Tremonti has come into his own in some ways fronting his own band, and I think his vocal skills that have surprised a lot of people - given that he is generally known for his guitar prowess. He sounds great on all of the albums vocally, but A Dying Machine contains possibly his best vocal performance overall to date. As such, A Dying Machine will be hard to top. In an attempt to do so, the band's aforementioned fifth studio album Marching in Time was released last month. While, in my opinion, it is not as good as A Dying Machine, there is still a lot to enjoy here. The album is probably heavier overall than A Dying Machine, with Tremonti's signature songwriting and guitar style driving the album's twelve songs. There is less of A Dying Machine's somewhat progressive, atmospheric approach - despite the new album sounding bigger than the band's early work. Marching in Time also sees the recording debuts of two newer members of the band, with Tremonti and long-time guitarist Eric Friedman joined by bassist Tanner Keegan and drummer Ryan Bennett (Eye Empire). The album is once again produced by long-time collaborator Michael 'Elvis' Baskette, who helps to give Marching in Time its signature thick sound.

The album's overall heaviness is apparent the moment that its opening track A World Away kicks off. While the song does soon speed up, its opening moments are characterised by a sludgy, slow-paced riff that has a real tech metal groove - while Bennett's mechanical drumming provides an off-kilter backing. Fear not, Tremonti have not morphed into a djent band; but the song's opening is certainly the most angular that the band have sounded. When it gets going, however, the vibe shifts to something more familiar with hard-driving verses (although some of the song's opening groove is maintained) and a real sing-along chorus that features the strong vocal melodies that Tremonti has become known for of late. The chorus provides the album's first hooky moment, and it opens things up after the more groove-based and angular riffing that characterises the rest of the piece. The combination of the strong riffing and the big chorus will ensure that the song goes down well live - and a fluid closing guitar solo helps to bring everything together. Now and Forever retains the overall heaviness, but drops the groove-based approach for a more typical modern metal sound - with the opening riff and Bennett drum pattern sounding like something akin to Trivium's recent work. I love how Tremonti's solo band allows him to explore the more metal aspects of his songwriting. Alter Bridge have certainly become heavier over the years, but I would not say that they are consistently heavy enough to be considered a true metal band. Tremonti are however, and the riffing throughout Now and Forever showcases this. There is a real tightness and aggression in the song's riffing; but there is still plenty of time for melody - with another big chorus containing some hooks. The chorus may not be quite as strong as the one found in the album's opening song, but the slightly darker approach here suits the song nicely - maintaining the song's vibe as a result. If Not For You reins in the overt heaviness somewhat. It opens with some effects-heavy synth strings, before a drum machine groove joins the fray - which Tremonti sings over. The relatively low key intro contrasts with the songs that came before it nicely - and even when the band kicks in for the chorus, with a chiming guitar lead and strong rhythm, the piece has something of a ballad-esque vibe. This is despite its full band hard rock sound, but the more dynamic approach taken allows the piece to feel much more gentle - even though there is still plenty of Tremonti's trademark thick guitar tone bulking out the song. Thrown Further returns to the heaviness of the album's opening with a choppy guitar riff and an overall faster pace. That being said, however, there is still a strong alternative rock vibe throughout. There are occasional moments on Tremonti's albums that recall his old writing style with Creed - and the verses here have a little of a post-grunge tinge. The drumming is much simpler, which allows the riffs to feel less metallic, and song is very vocal-focused. As such, there is a strong American radio rock vibe throughout the song - and it is a good mix of heaviness and melody.

Let That Be Us, with its machine gun-esque drumming from Bennett early on, is one of the album's heaviest pieces - and it recalls the tone set on Now and Forever earlier. Comparisons to bands like Trivium can once again me made, as some of the riffing here has a strong modern metal vibe; but the overall warm production style and Tremonti's accessible vocal approach stops the song from sounding too different from the rest of the album. Tremonti's songwriting always emphasises melody too, and even the heavier songs on the album such as this one often pair things back - especially to allow chorus vocal melodies to shine. Let That Be Us' chorus is another strong one, and its faster pace allows it to really stand out as it is packed full of energy. The song is a highlight as a result for me. The Last One of Us slows things down again somewhat, and makes use of Tremonti's penchant for big, clean guitar chords. This has often been a big part of Alter Bridge's style, and the vibe is reused here to great effect. The song certainly sounds more like Alter Bridge than just about anything else on the album, and it is one that I can imagine Kennedy singing as a result. Tremonti sings it very well however, but the style chosen here just shows that there is sometimes crossover between Alter Bridge and Tremonti's own albums. Despite enjoying the song, I actually prefer Tremonti when they are operating at full tilt - and the heavier songs on the album are among my favourites. The Last One of Us provides a nice change of pace however, and the album benefits from its overall reduction in speed and heaviness. In One Piece ups the heaviness again, and it hits the listener from the off with its fast-paced double bass drumming and tougher sound - especially compared to the previous song. Despite this, however, the song sounds less like Trivium-esque modern metal - as it actually sounds quite traditional. Some of the riffing is pretty old-school sounding; with the fat guitar tone only reinforcing this feeling. The drumming feels more modern, but the sludgy sound recalls traditional 1970s metal - just forced through a modern-sounding filter thanks to the drums and occasional synths. The chorus is one of the album's best too, with a slightly dark overall tone that is complimented perfectly by Tremonti's rich vocals. A shredding guitar solo pulls everything together - and should remind everyone why he is held in such high regard as a guitarist. Under the Sun slows things down again, and takes a slightly darker turn thanks to more of an atmospheric synth presence. The chorus is heavier, with chiming guitar leads and thick rhythms, but much of the rest of the song is relatively low key - with guitar arpeggios, simpler drum beats, and the aforementioned synths filling the speakers. It is a song that recalls A Dying Machine somewhat, which often had more of an atmospheric sound due to its overall more ambitious reach. As such, Under the Sun stands out on the album as it sounds somewhat different - but the more overt synths help to add some overall diversity.

Not Afraid to Lose maintains the slower pace of the previous song, but it takes the route of a more traditional ballad. It is one of the album's least heavy pieces, and there are again strong Alter Bridge vibes throughout. Albums like 2007's Blackbird were packed with songs like Not Afraid to Lose, and the uplifting lyrics and sunny guitar arpeggios are a real trademark of Tremonti's songwriting at this point. While I like the fact that he focuses on the heavier side of his songwriting for his solo band, it is also good that he includes a few songs that strip away the heaviness and go for a more melodic and uplifting approach. This allows his albums to have plenty of light and shade - and Not Afraid to Lose feels like very much on the side of 'light'. Bleak is, unsurprisingly, a bit of a downer following the uplifting previous number - but the song is not as dark as it may appear. The heaviness is increased again somewhat, but parts of the song still maintain the stripped back nature of the previous cuts. Dark sections, with discordant guitar leads and plenty of acoustic guitar depth, are paired with a trademark Tremonti chorus for a bit of a hybrid sound - one that fuses melody and darkness nicely. The song's chorus is very hooky, and easy to sing along to, while parts of the rest of the song are somewhat unsettling. The mix of sounds works well however, and the song is another highlight due to its slightly different approach. Would You Kill gets back to the album's core sound. It ups the pace and heaviness again, and as a result it is a driving modern metal anthem with lots of great riffs and a powerful drum performance from Bennett. The verses are furious and groove-laden, while the chorus is full of hooks and backed up by a great guitar lead throughout. It is another chorus that is very easy to sing, and given the song's overall energy it is another that I can easily see becoming another live favourite. It is left to the album's seven minute-plus title track to close things out - and the band have saved one of the best until last. As the song is on the longer side, there is a lot going on throughout. It opens quite slowly with clean guitar melodies and some gentle Tremonti vocals, but things slowly build up as the song moves on - with the drum grooves becoming more complex and the synths having more of a presence. The song is certainly the album's biggest sounding piece - which is fitting as it allows all of the album's previous vibes to be pulled together as one. There are heavier sections here, as well as plenty of knotty riffs, but everything fits together nicely despite the song's length. The transitions are not jarring, and the overall balance between light and shade is well struck. It is the sort of song that showcases Tremonti as a songwriter and an arranger, and the album ends on a real high as a result. When taken as a whole, however, Marching in Time is another strong album from Tremonti and his band. I still think that A Dying Machine is his greatest work to date as a solo artist, but Marching in Time is also very good - and the overall heaviness throughout is certainly welcome. It does not seem like Tremonti is going to ease up on his solo career any time soon either, so I am sure that in a few years he will revisit this sound and I look forward to seeing where he takes it.

The album was released on 24th September 2021 via Napalm Records. Below is the band's promotional video for If Not For You.

King King - Exeter Review

I am not quite sure why but, since live music started back up again here in the UK over the summer, the South West has turned into something of a hotbed of concerts. Traditionally, the region is rather poorly served by UK tours - but since August I have been to five gigs in Plymouth and three in Exeter. That is a lot for such a short space of time - and with another Plymouth gig on the horizon later this week that number is only going to increase. Part of me wonders if this is something of a post-lockdown boom, and bands are full of something of a temporary significantly increased drive to get 'out there' again. With overseas touring opportunities still somewhat limited, it might be that the void has been filled with more UK shows. It could also be that the area is now home to some new promoters with a bit more pull - but either way those of us in the South West who love hard rock and metal have been spoilt of late. I really hope that the South West remains on bands' radars, as the turnouts have been very good, but I do wonder if the bubble will burst once more traditional touring routes again open up. Either way, those of us in the South West have certainly been enjoying this increased activity - and the latest event in the region that I attended was a sold out gig at Exeter's Phoenix by the Scottish blues rock act King King. King King are a band that I had seen live a handful of times by default, but it was not until 2019 that I started to listen to them properly. I first saw the band live back in 2016 opening for Thunder; and I then saw them twice in 2018: once at Steelhouse Festival and then again a couple of months later opening for Europe. I had somewhat enjoyed the first two shows, but it was their set in Cardiff with Europe that turned my head the most. I added them to the long list of bands that I needed to explore properly, but it took me around to year to actually take the plunge - when I finally picked up a couple of their albums. Better late than never however, and this initial outlay has now led to me collecting all of the band's albums - including their latest album Maverick which was released last year. The next logical step was to see the band live on my own terms, and the Exeter show provided such an opportunity. The Phoenix has always been a great place to see bands, and it seems that many agreed as the King King show this past weekend was sold out. The Wildhearts show there last month was also very busy, and it is great to see the venue thriving again post-lockdown - as it has always been one of the region's best.

Before King King's set however, the large crowd was treated to half an hour of rootsy blues from When Rivers Meet. When Rivers Meet are a duo consisting of Grace Bond (vocals/mandolin) and Aaron Bond (guitar/percussion/vocals), who play a brand of blues that is very old-school and raw. Much of the set purely consisted of Aaron's dirty slide guitar and solitary drum - with Grace's powerful vocals over the top. She occasionally added some slide mandolin, and Aaron occasionally added some harmony vocals - but for the most part the duo's sound was very simple. Despite this, however, the two made a lot of noise on stage - and reminded me of similar duos such as The White Stripes or The Black Keys. When Rivers Meet are probably rootsier than those two bands however, and as yet are largely untouched by the slightly cynical, corporate sheen that those other two bands mentioned succumbed to. It is hard to remain so pure of sound when lots of money becomes involved, and I hope that When Rivers Meet retain their authenticity as they are certainly a band that have a strong identity. In truth, however, they were not really my thing - but their overall power cannot be denied. The guitar tones on display were full of real blues heft, while Grace is one of the most powerful live non-metal singers that I have seen for a while. She can really belt it out, and the chemistry between the two really works. As the set went on, however, it became clear that the band have their sound and that is what they stick to. Many of the songs played sounded quite similar to one another, so fatigue did start to set in a bit for me. That did not seem to be the case for many of the others in attendance, however, as the band received a strong reaction throughout their set. I sense that When Rivers Meet have quite a strong following of their own, and that I will soon start hearing a lot more about them. On the strength of their Exeter performance, such success would be deserved - and I say that as someone who was not massively into their sound.

Half an hour or so after When Rivers Meet finished their set the lights went down and AC/DC's Highway to Hell blared out over the PA. This was King King's cue to take to the stage, and the now-expanded five-piece walked out with huge smiles on their faces - and launched into the hard rocking (She Don't) Gimme No Lovin' from 2017's Exile & Grace. It has been the band's opening number for the past few years, and it works well up top as is it is one of the band's more riff-based rockers. It certainly helped to ease the crowd into a set that was heavy on new material, although in truth all of the new songs from Maverick played were treated like old friends. It was right that Maverick was featured so heavily though, as it introduced much of the band's current line-up last year. Only Alan Nimmo (vocals/guitar) and Jonny Dyke (keyboards/vocals) remain in the band from those 2018 shows that I enjoyed - with Zander Greenshields (bass guitar/vocals), Andrew Scott (drums), and Alan's big brother Stevie (guitar/vocals) all joining the band since then. The expanded line-up allowed the band to sound bigger than previously, and having Stevie on guitar allowed Alan to focus solely his vocals at times. This made his performance during the quieter moments stronger, whereas having an extra guitar during the more rocking sections of the set allowed the band to sound more powerful. The rocking Fire in My Soul and the funky One World certainly benefitted from the expanded line-up, while standards such as Waking Up and Rush Hour felt more soulful due to Alan's more vocal-focused approach at times - although he still ripped into a number of fantastic guitar solos throughout each song. Alan is the star of King King, but for my Dyke is just as important. His keyboard playing, be it via his Hammond organ or his Fender Rhodes, was constantly featured throughout the set. One World is the song that it is due to his driving Rhodes playing, while Rush Hour has its depth thanks to plenty of warm washings of Hammond - which was the perfect bed for Alan's soaring guitar solos.

A Long History of Love has always been a live favourite for the band, and it was another highlight of the Exeter show. It featured some of Alan's best playing of the night, while the whole band often came together to create the rich sound that King King have become known for. This was also apparent during the upbeat You Stopped the Rain, another long-time favourite that the capacity crowd helped Alan and the guys to sing. Such was the band's confidence in their new material that they decided to end the main set with three new songs in a row. Two hard rockers in Never Give In and I Will Not Fall sandwiched the more emotionally-charged Whatever It Takes to Survive. All three songs really came alive on stage, but it was perhaps I Will Not Fall that impressed the most - as it turned into a real band showcase where everyone involved had the spotlight shined on them. Stevie, who stuck to rhythm guitar throughout the night, closed the song out with a ripping solo of his own - and the song had a real feeling of some good old-fashioned rock excess, which is always a lot of fun. There was time for a few more however, and a three-song encore followed. It opened slowly, however, with the piano ballad When My Winter Comes, also from the latest album, which was sung beautifully by Alan - with Stevie and Dyke harmonising during the chorus. It was a poignant moment, but it was not long before the full band was back on the stage and it was time for a couple of old favourites to be dusted off. The proper blues strut of Stranger to Love slowed things down somewhat, and allowed for some great old-school blues tones and soloing; while the joyous Let Love In proved to be a great closing cut. It prompted one last sing-a-long too, helped along by Alan, and it was the perfect way to end a set that was full of uplifting songs and emotional numbers. The reaction from the crowd seemed to even stun the band occasionally too, and when the set came to an end they took their bows to loud cheers. The setlist was:

(She Don't) Gimme No Lovin'

Fire in My Soul

One World

Waking Up

Rush Hour

Coming Home (Rest Your Eyes)

A Long History of Love

You Stopped the Rain

Never Give In

Whatever It Takes to Survive

I Will Not Fall

-

When My Winter Comes

Stranger to Love

Let Love In

I am glad that I took the plunge with King King properly in 2019, as I have been really enjoying their albums over the past couple of years - and the show in Exeter was a great way to cap off this newfound fandom. All being well I will be seeing the band again at Chepstow Castle next summer, and if it is anywhere near as good as this Exeter show then it will be an excellent night. King King are a band that I am only going to like more as time goes on too - and I will be listening to their albums a lot more over the coming months.

Blaze Bayley - London Review

Despite the fact that most of the COVID-19 restrictions in the UK have now been lifted, there are still a number of other European countries were live music is still essentially outlawed - or there are too many other logistical hurdles to overcome to make visiting the country to play a gig worthwhile. As a result, some live events planned in the UK are still being cancelled or postponed. With uncertainties around a the rules of a number of European countries, many bands with Europe-wide tours (which include a handful of UK dates) are still opting to postpone rather than try and salvage what dates they can - in the hope that 2022 will see less of a disparity of restrictions between individual countries in Europe. Such a fate befell Opeth's 30th anniversary celebrations, which all being well will now visit the UK next year, but the show's postponement meant that I had a planned night in London with nothing to do. A quick scan of the city's venues, however, revealed that Blaze Bayley was playing at The Underworld in Camden on the same night - so I bought a ticket to keep my plans intact. I would not usually travel so far to see Bayley, especially having seen him locally in Plymouth only a month or so ago, but the circumstances made the opportunity one not to miss. His Plymouth gig was sadly marred by poorly-behaved crowd too, and a turnout that paled in comparison to that which he attracted in the same venue back in 2019. Last month's show at The Junction was plagued by endless loud talking from certain sections of the crowd between the songs; and towards the end a few people who clearly could not handle their drink started to make life pretty miserable for those down at the front. It was a poor showing from the Plymouth crowd, and it definitely affected my enjoyment of the night - and I sensed that perhaps Bayley and his band were also quite frustrated by what they faced with. A night out with Bayley at The Underworld was a chance to right the wrongs of the Plymouth show; and I was looking forward to seeing him as a solo artist outside of Plymouth. The four solo shows of his that I had seen previously were all in Plymouth, so I was looking forward to seeing him in a venue like The Underworld which is often very busy. At first, however, it looked like the turnout was going to be quite poor; but the 6pm doors meant that there was quite a surge of people arriving just as the support act took to the stage. By the time Bayley's set started, the place was packed - which contributed to a great atmosphere throughout.

As was the case at the Plymouth show, the evening was opened by a strong 45 or so minutes from Manchester's Absolva. As they double as Bayley's backing band, it makes sense for them to also open the show. Absolva are a band that are starting to do well for themselves too, and many in the crowd were familiar with their material. They played for slightly longer than they did in Plymouth and added in an extra song - but otherwise the set was the same (albeit rearranged somewhat). The Plymouth show came near the beginning of the tour, but with a lot more shows under their belts now Absolva's set was even more powerful than it was a month ago. They took the stage to little fanfare, and opened with the excellent Advocate Your Fate from their latest album Side by Side. Chris Appleton (vocals/guitar) is the star of the band with his strong voice and fluid solos, but the rest of the band backed him up nicely. Luke Appleton (guitar/vocals) often led from the front with his riffs, and the moments where he teamed up with his brother for an old-school duel-lead guitar line were some of the highlights of the set. This would all be for nothing if the band's songwriting was not up to scratch, but the band's old fashioned heavy metal is full of hooks. The chorus of the pummelling mid-paced Never a Good Day to Die was sung back at the band by the growing crowd, while the fast-paced Who Dares Wins (which was not played in Plymouth) was a highlight due to its relentless energy. The rearranged songs also allowed the set to have a better flow in my opinion - with its closing trilogy pushing things up a notch further. Chris led the crowd through a proper sing-a-long during the anthemic Never Back Down, while Rise Again had a bit more energy overall due to its high octane riffing. The band's traditional closing number Code Red was then wheeled out, and by this time there was not a person in the crowd that was not having a good time. The crunchy chorus was another that was sung loudly by the crowd, and at times it was easy to forget that Absolva were not the headline act. While it might be the case that the connection to Bayley means that his crowds are kinder to Absolva than they might otherwise be; this would mean nothing if the band did not have the songs to back it up. Absolva certainly do, and they are a band that deserve to be heard by a wider audience. The setlist was:

Advocate Your Fate

Burning Star

Never a Good Day to Die

Legion

Who Dares Wins

The Sky's Your Limit

Never Back Down

Rise Again

Code Red

Half an hour or so after Absolva's set finished, the band trooped back out with Bayley in tow - and launched into a powerful 15-song set that attracted the sort of respect that it sadly did not in Plymouth. While the setlist in London was slightly shorter, presumably due to curfews, the overall performance and the atmosphere was much stronger. Atmosphere can really make a difference, and despite one rather large chap who had clearly had too much to drink and was failing to engage most people in his wish to mosh the crowd in London was just there to enjoy the music. As in Plymouth, the show opened up slowly with Silicon Messiah, but the lack of talkers made the song's low key intro (which then transitions into a heavier riff) have more of an affect - before the chorus was one of the evening's many sing-a-longs. Bayley's fans are dedicated, and everyone in The Underworld was there to have a good time. Pretty much everyone there knew all the words to the songs played, which meant that every chorus was a rousing experience. None more so than the Blaze band oldie Kill and Destroy, which attracted a lot of attention during its anthemic chorus. There was then plenty of opportunities for Bayley's latest album War Within Me to get a showcase. The opening title track is a great live cut, while the slower paced Pull Yourself Up was a real showcase for Bayley's booming voice. The Absolva guys certainly made their presence felt too, and the show had the feel of a real band performance as a result. The guys are clearly big fans of Bayley and his work, as they were singing along just as much as the crowd were, and Chris' many guitar solos were packed full of passion. A highlight for me was the anthemic The Power of Nikola Tesla, a song from the latest album which was not previously one of my favourites. It has a chorus that is made to be heard live - and the song really comes alive on stage as a result. Hearing it again was a great moment, before a dip back into Bayley's Iron Maiden past with Virus elicited a large cheer. While the Iron Maiden cuts are always appreciated, Bayley's focus of late has always been on his solo career - which is fitting. To highlight this, the excellent 18 Flights followed which morphed into a real band showcase. Martin McNee's drum solo was appreciated, before bassist Karl Schramm took his turn in the spotlight. Luke, primarily a rhythm player, even had a chance to solo too - and song was a real triumphant moment that gave way to three songs from Bayley's recent sci-fi trilogy of concept albums. This suite culminated in the series' excellent title track Infinite Entanglement, which again saw plenty of singing. There were three songs left at this point, and the crushing The Man Who Would Not Die was another highlight. The song was one of the ones that got me into Bayley around the time its corresponding album came out, so I will always enjoy hearing it live as a result. It was left to two more Iron Maiden songs to close things out - with the singles Man on the Edge and Futureal whipping up one last lot of excitement before the band took their bows and the crowd wandered out into the Camden night. The setlist was:

Silicon Messiah [Blaze material]

Kill and Destroy [Blaze material]

Watching the Night Sky

War Within Me

Pull Yourself Up

Warrior

The Power of Nikola Tesla

Virus [Iron Maiden material]

18 Flights

Life Goes On

Eating Lies

Infinite Entanglement

The Man Who Would Not Die

Man on the Edge [Iron Maiden material]

Futureal [Iron Maiden material]

Given the amount of singing and cheering that took place throughout the evening, I think that it is fair to say that everyone went home happy. The show was probably the best of the five Bayley solo shows that I have seen to date, as the atmosphere was great and the setlist was a strong mix of old and new. The live sound mix was very clear too, with everything standout out just the right amount. Bayley himself never seems to age either, and vocally he still sounds as good now as he did back in the 1990s. His powerful voice really drove the whole evening, and I am glad that I did not cancel my trip to London after Opeth's gig was postponed - as otherwise I would have missed out on another excellent night with Bayley.

Roger Taylor - Plymouth Review

As I mentioned on this blog the other day, the Pavilions in Plymouth is a sadly underused venue. The South West of the UK has not been a hotbed of live music since the Cornwall Colosseum closed, with Bristol often being the closest city that tours will hit up for those of us living in the area. Exeter and Plymouth have always occasionally hosted bands, but sadly those of us in the South West often have to travel to Bristol (or beyond) if we want to see our favourite bands live. One of the reasons that Plymouth may often be missed off bands' UK tours, especially tours by medium-to-large acts, is the reputation of the city's largest venue - the Pavilions. The venue-cum-conference centre-cum-ice rink (the swimming pool that also used to be included within the site closed many years ago) has always suffered from something of an identity crisis - as well as a reputation for poor sound. I remember seeing a few heavier bands in the venue in my teenage years, and the sound was often so muddy that it was hard to hear what was going on. This likely put some bands off from coming down to Plymouth, but at some point in the last few years the venue's sound system has certainly been improved. Sadly, however, this does not seem to have encouraged more bands to come down to Plymouth - especially those of a hard rock and metal persuasion. Before seeing Steve Hackett at the venue on Tuesday, the last concert that I went to at the Pavilions was Robert Plant back in 2017 - and he can hardly be called a hard rock act these days, as good as the show was. It is a real shame that the venue is not used more, as the turnouts to everything that I have ever been to there have always been strong, but sadly the South West has always suffered from being considered 'out of the way'. That being said, this week I have been to the Pavilions twice - as the venue has had a rare purple patch of late. As already mentioned, on Tuesday I took in a stunning performance by Steve Hackett - while yesterday I witnessed an equally excellent show from Roger Taylor. Taylor is, of course, more well known for being the drummer of Queen; but he has maintained a sporadic solo career over the years. Those familiar with Queen will know of his excellence as a songwriter and as a singer; and his solo work has allowed him to showcase more of his writing when breaks in Queen's busy schedule allow. Last year, like many musicians, he was stuck at home - and decided to use the time to write and record his sixth solo album Outsider. With Queen's next tour scheduled to take place next year, Taylor took the opportunity to arrange his first solo tour for around two decades to promote the new album - as well as to give a number of other songs from throughout his career a well-deserved airing.

Following a short and rather unremarkable solo set from singer-songwriter Colin Macleod, which did little for me but managed to elicit a strong reaction from sections of the good-sized crowd, Taylor took to the stage with his five-piece band - who proceeded to storm through a 21-song set with real vigour. Having spent most of his career sat behind a drum kit, Taylor is not always the most natural frontman - but his natural charisma still shone through. It helped that he was in fine voice throughout, and the mix was crystal clear all night which allowed him to shine. While the Outsider material is generally quite low key, much of the evening rocked. The opening anthem Strange Frontier was a great way to kick off the show with its rousing chorus and 1980s sheen, while the Queen oldie Tenement Funster was the first showcase piece of the night for Christian Mendoza (guitar/vocals). The Queen fans in attendance were always going to scrutinise Mendoza's recreations of Brian May's guitar parts, and his bluesy take on the material suited the vibe of the night perfectly - as well as Taylor's somewhat gruffer vocal style. That being said, however, it was not always the Queen songs that stole the spotlight. The show was a real reminder what a strong solo career Taylor has quietly been plugging away at. Hard rocking numbers such as the bile-filled A Nation of Haircuts and the gentle but no less bile-filled Gangsters Are Running This World were all early highlights - even if Taylor's customary rendition of the late Queen single These Are the Days of Our Lives was still as emotional as ever. It was certainly the Queen songs that proved to be the biggest sing-a-longs of the night however, as A Kind of Magic exemplified. The song saw plenty of singing from the crowd, with long-time Queen associate Spike Edney (keyboards/vocals) adding some great 1980s flourishes with his vocoder. Many of Taylor's solo tracks are much less upbeat however, but the set was well-paced to allow both moods to shine.

Surrender, which tackles dark subject matter, was a real showcase for the whole band on an atmospheric level - with multi-instrumentalist Tina Hizon singing some haunting sections which were a great contrast to Taylor's approach. To allow Taylor to take a brief mid-set break a powerful rendition of the Queen deep cut Rock It (Prime Jive) sung by drummer Tyler Warren then rocked the house; before the man himself returned to sing Under Pressure in tandem with Warren. Despite the show up to this point being excellent, it really felt like things were kicked up a notch with Under Pressure. The swaggering I'm in Love With My Car, which was not far behind, showcased the raw power of the band - as well as Taylor's husky voice. Another late highlight was the new More Kicks (Long Day's Journey into Night...Life) which was stretched out to include a lot of soloing and jamming from the band. The song is one of the few rockers on Outsider, so it worked well as a band showcase. Towards the end Taylor even sat behind a second drum kit and joined in with Warren - while Hizon laid down a great violin solo. Taylor did not drum much throughout the gig, and this session behind the kit was only his second of the evening. He made his short stint count however with a great drum solo trade-off with Warren, which was certainly more interesting than most drum solos, before coming back to the front of the stage for the acoustic-based Foreign Sand. This was to be the penultimate song of the main set, and it was left to the Queen classic Radio Ga Ga to end things in style. It was easily the highlight of the evening overall, as it was probably always going to be, with the whole crowd joining in with the customary clapping. It brought the main set to a powerful close; and the band left the stage to a lot of applause from those in attendance. There was time for a couple more however, and the band came back out to rock through a couple of covers. I would have preferred to hear a couple more Queen deep cuts really, but the versions of Rock and Roll and "Heroes" performed were still fun. Rock and Roll in particular was strong, with Warren nailing the signature drum groove, while "Heroes" was somewhat reworked into a more earthy, bluesy arrangement which suited Taylor's voice. It was a fun end to a varied and often powerful set that demonstrated what fun Taylor and his band are having on this rare UK tour - and I think that it is fair to say that everyone went home happy. The setlist was:

Strange Frontier

Tenement Funster [Queen material]

We're All Just Trying to Get By

A Nation of Haircuts

These Are the Days of Our Lives [Queen material]

Up

Gangsters Are Running This World

A Kind of Magic [Queen material]

Absolutely Anything

Surrender

Man on Fire

Rock It (Prime Jive) [Queen material]

Under Pressure [Queen material]

Say it's Not True [Queen + Paul Rodgers material]

I'm in Love With My Car [Queen material]

Outsider

More Kicks (Long Day's Journey into Night...Life)

Drum solos

Foreign Sand

Radio Ga Ga [Queen material]

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Rock and Roll [Led Zeppelin cover]

"Heroes" [David Bowie cover]

When some members of famous bands go on solo tours, sometimes the crowd are just waiting to hear the few big hits that they know. That was not the case with Taylor's excellent Plymouth show however. Many of his solo tracks were some of the evening's highlights, and the inclusion of a few Queen classics and deep cuts felt like an added bonus rather than the reason for buying a ticket. This goes to show the overall quality of Taylor's solo albums - and also of his excellent live band that has been assembled for this tour. Everyone on stage seemed to be having a great time throughout, and it is a shame that following this run of dates it will probably be quite a while before Taylor heads out on the road under his own name again. I am glad that I made the effort however, as the evening was excellent - and I will certainly be getting much more stuck into Taylor's solo albums over the following months.