The Halo Effect's 'Days of the Lost' - Album Review

It is perhaps fitting that my last review on this blog was of Arch Enemy's latest release Deceivers. Despite starting well with four strong songs, the album soon tails off - and is something of a disappointment in my opinion. It is a shame, as Arch Enemy have been one of the driving forces of the melodic death metal scene since the late 1990s, but after bouncing back in 2014 with War Eternal they seem to have been treading water. As far as melodic death metal goes, the standout performers for me in recent years have been Soilwork. I have not delved too deeply into their latest album Övergivenheten yet, but I have enjoyed my initial listens to it - so expect to see it covered here at some point in the not too distant future. Perhaps the biggest melodic death metal surprise of the year, though, is Days of the Lost - the debut album of the Gothenburg-based supergroup The Halo Effect. Perhaps I should not really describe Days of the Lost as a surprise, given that the band announced their existence last year and the pedigree involved should have given me a clue of their album's eventual quality, but supergroups can often end up disappointing. They tend to get overhyped given the history of those involved, and quite often they can never live up to the expectation that the fanbase generates. I can think of a few that ended up falling flat, but The Halo Effect is very much one that has impressed me. The reason why there was a lot of interest surrounding the band in the first place, then, was the fact that all five of the band's members have a connection to the legendary Gothenburg band In Flames. I think it is fair to say that opinions are extremely mixed when it comes to In Flames' recent work, but there can be no denying their influence and contribution to the melodic death metal genre. I actually enjoy some of their recent albums quite a bit, but I do agree that their earlier work is their strongest era. Lots hoped that The Halo Effect would bring back the old-school In Flames sound, then, and in some respects they did. There are songs here that sound quite a lot like In Flames, but there are also similarities to other Swedish bands. Made up of frontman Mikael Stanne (Dark Tranquillity; Grand Cadaver), guitarists Niclas Engelin (Gardenian; In Flames; Engel; We Sell the Dead) and Jesper Strömblad (In Flames; Ceremonial Oath; HammerFall; Dimension Zero; The Resistance; Cyhra), bassist Peter Iwers (In Flames; Cyhra; Fleetburner), and drummer Daniel Svensson (Sacrilege; In Flames); The Halo Effect very much feels like a group of old friends getting together and having fun. These five guys all helped shape the Gothenburg sound, and Days of the Lost very much sees them playing to their strengths. I am sure that some would have liked to have seen a bit more experimentation, but there is a triumphant feel to the material here - which can only really be conjured up by those who have lived and breathed the scene like those involved here.

One of the great things about Days of the Lost is how compact it is. The album is only just over 40 minutes long, and none of the songs here are longer than five minutes. This conscience format really allows the album to shine for me, and it is one that I have been listening to quite a bit recently as a result. No song here outstays its welcome, and the mix of melody and heaviness throughout is as compelling as ever. The album opens with Shadowminds, one of its singles and a great overall representation for The Halo Effect's sound. Given Stanne's presence, and distinct voice, there is more than a hint of Dark Tranquillity throughout - and Shadowminds recalls that band. There is more of a mournful sound throughout this album than was typical for In Flames, and Shadowminds epitomises that. It starts with a bit of an industrial beat with a guitar lead in the background - which gradually swells in volume before the rest of the band crash in, and the track morphs into a mid-paced rocker around the same lead. This lead proves to be the main hook throughout the song, and later forms the basis of the chorus, but The Halo Effect are not a band that constantly throw guitar leads into the mix. The verses here are groove-based, with strong mid-paced riffing and the pounding bass presence of Iwers, although there is more of a melodic focus during the pre-chorus which features a busy lead before the chorus kicks in. Stanne's vocal presence throughout is powerful, and he puts in an inspired shift during every song. The chorus here brings the best out of his anthemic style, and he plays off the guitar lead perfectly - the combination of which ensures that the song remains memorable. The album's title track follows, and it is likely my favourite song here. Despite the album sounding closer to Dark Tranquillity than In Flames, its title track is very much out of the In Flames songbook. The opening guitar lead is a Strömblad classic, and there are a few moments throughout the song that see him and Engelin come together to perform a dual lead. It is not just the leads here that are hooky, either, as the riffing throughout the song is catchy and full of pace. Svensson's fast footwork keeps things moving, whilst the bouncy riffing of the verses whips up plenty of energy. A low key pre-chorus goes for a slightly more atmospheric approach, with another melodic guitar hook, before the chorus hits in an explosion of melody. It is easily the album's most anthemic moment, and Stanne's vocal melodies create some fists-in-the-air passages - which is pushed to the fore during the final chorus due to a 1980s-style key change. A brief guitar solo injects some additional melodies, too, and helps to ensure that the song is one of the best melodic death metal cuts of the year. The Needless End slows the pace back down somewhat, and goes for a menacing mid-paced approach - in which the gloom is occasionally broken by an uplifting, somewhat folky guitar lead. The riffing throughout the track is very much death metal influenced, and it is the first song here that really showcases the band's atmospheric depth. There are quite a lot of keyboards and synths on this album, and they contribute to the gloom throughout. They never dominate, but the playing of  Örjan Örnkloo (Misery Loves Co.), who has also contributed to many In Flames albums over the years as a session player, creates a lot of atmosphere - and The Needless End is full of his playing. The guitars still provide the main hooks, though, and Stanne's vocal approach this time is more about adding to the overall atmosphere than creating any anthemic choruses.

Conditional starts out slowly with Strömblad and Engelin playing a delicate twin guitar pattern, which is bathed in a gentle halo of synths, before the rest of the band crash in and the paced is upped immediately. A simple version of the melody toyed with in the beginning then forms the main hook, and the song moves back and forth between groove-based riffing and thrashy sections that see a lot of fast double bass drumming. The riffing throughout is quite varied, then, and the song is one that manages to pack quite a lot into a relatively short space of time. The chorus is another hooky moment, too. The pace slows for it, and Stanne's vocal hooks once again focus on strident melodies - and when the song ups the pace again following the chorus the excitement levels are really shifted up to the next level. In Broken Trust again opens with something of an industrial sound, with the synths of Örnkloo getting a bit of a workout, before a snaking riff kicks in and the song becomes a crushingly heavy mid-paced track - at least at first. It is another dynamic piece, though, as the verses are relatively light-touch. The guitars drop out here, to leave Stanne singing against a bass and synth backing - whilst Svensson keeps a basic beat. This is easily the least-heavy moment of the album so far, and the fact that it follows such a powerful opening riff makes it hit harder. The song revels in twists like that though, and the chorus then takes another path by having Stanne singing clean. He does not use his clean voice too often throughout this album, but the choruses here double down on the song's atmospheric sound - and focus on gothic melodrama instead. There is also quite a lengthy guitar solo section here, too, and the song is one that does things somewhat different - whilst still sounding at home on the album. Gateways takes a similar path, but goes for a gradual build-up rather than hitting the listener with a big riff from the off. This time it is the chorus which is heavier - and the whole song builds up towards it. The synths once again play a big part, whilst the staccato drumming of Svensson throughout the verses perfectly compliments the pulsing bass and gentle guitar textures. A pre-chorus section sees some delicate twin guitar leads add some melody - but this moment is short-lived as the heaviness is soon upped with some big riffing and Stanne's powerful chorus vocal hooks. I like how The Halo Effect have gone for quite an atmospheric sound throughout this album. It would have been easy to rely too heavily on certain tropes, but upping the synth presence helps to set the album apart from In Flames' classic sound - and Gateways is a good example of that difference. A Truth Worth Lying For returns to something more typical in approach, though. It ups the pace, and opens with a melodic guitar lead that soon gives way to a strident verse which is packed with stop-start riffing and hypnotic leads. The verses here are built in two parts, though, with the first half being as described whilst the second part is built around an ascending power chord melody - which then gives way to another clean-sung chorus. There is atmosphere in the chorus, but it is also very catchy - and a great guitar-led mid-section allows for more melody.

The album does not let up at all for the home straight, and Feel What I Believe could well be one of its heaviest tracks. It is a great mix of both classic In Flames and classic Dark Tranquillity - with a guitar hook from the former and a gloomy atmosphere similar to the latter. The song is fast-paced, and it never really pauses for breath at all throughout. Many of the songs here are a bit more dynamic in approach, so it welcome that this song just goes for it throughout. The riffing is catchy and powerful, whilst a big guitar lead is never too far away. The chorus has a subtle lead backing, which enhances it, whilst there is a guitar refrain that repeats throughout which focuses on big melodies. The chorus is another anthemic moment on the album, too, and Stanne delivers another great performance. Last of Our Kind slows things down a little, at least initially, as it opens with some strings that act as a bit of a breather following the thrashy previous song. This moment of calm does not last, although Last of Our Kind is not quite as in-your-face as Feel What I Believe. It is more mid-paced at first, although the riffing is still pretty instance despite the relative lack of speed. The song reminds me a bit of Shadowminds somewhat, but without the focus on big guitar leads. There are not too many melodic guitar moments here, with the riffing instead taking centre stage. The strings from the intro are used throughout, too, and they provide brief moments of melody in place of the guitars occasionally - which helps the song to stand out. There are moments that feature industrial-esque synths, too, such as during a bit of a breakdown following the second chorus - which is then followed by some vocals from Matt Heafy (Trivium; Ibaraki). His harsh vocals sound very different Stanne's, so he gives the breakdown a different vibe - before he adds his clean vocals to the final chorus, almost harmonising with Stanne's growls. The vocal combination works well, and Heafy's contributions are welcome despite being brief. The album then comes to a close with The Most Alone, another more dynamic piece that moves back and forth between heavier sections that those which are more atmospheric. The verses here see the guitars drop out for part of them, leaving the bass and synths to dominate, but they join in for the second half - before a mournful chorus kicks in. The chorus is very Dark Tranquillity in tone, with lots of synths and gothic overtones. Again, there is less of a focus on guitar leads, although they are still here. There is one throughout the chorus, but it is less prominent in the mix, and there is another brief guitar showcase section which features some knotty playing. The focus on keyboards gives the song a somewhat epic feel, though, which helps it to work well as a closer - and the album ends on a mournful, yet soaring, high despite there being more melodic tracks here. For me, though, what makes Days of the Lost strong is its surprising variety. This album could have easily sounded recycled, but there is a good mix of styles here. It does not really do anything new, but for me there is a freshness here - and the five guys have all pulled together to make something fun and memorable. Whether this band will continue in the future remains to be seen, but they are currently on tour with Machine Head and Amon Amarth - meaning they have already escaped studio project purgatory. I would certainly like to hear more from the band, though, so I hope that they write some more songs in the future.

The album was released on 12th August 2022 via Nuclear Blast Records. Below is the band's promotional video for Shadowminds.

Arch Enemy's 'Deceivers' - Album Review

Whilst I was fairly positive about Arch Enemy's 2017 release Will to Power in my review of it (which can be read here), I do not think that I have listened to the album at all since I saw the band live the following February. I will dig it out again shortly, as I am seeing them again later this week, but a scan down the album's tracklist does not bring many of the songs to mind. I remember the singles, which were decent, but beyond that I struggle to recall anything else about the album. Looking back, I think I wanted to like Will to Power a lot more than I actually did. I loved, and still really like, 2014's War Eternal (which I also reviewed here), and I really wanted the band to kick on from that solid base - but despite some experimentation, Will to Power has not had much staying power with me. For me, War Eternal was probably the best Arch Enemy album since 2005's Doomsday Machine. Following a couple of decent-but-not-spectacular albums, and the departure of legendary frontwoman Angela Gossow, War Eternal saw Arch Enemy sounding the freshest that they had for a few years. It marked the debut of current frontwoman Alissa White-Gluz, who put in an incredible shift throughout, and her presence seemed to encourage guitarist and main songwriter Michael Amott to write some his best riffs and melodies in a while. Aided by new guitarist Nick Cordle, too, who helped to inject some freshness into the band's long-established melodic death metal sound, War Eternal was a triumph - and it is an album that I still return to regularly. I was looking forward to Will to Power a lot, then, but the departure of Cordle part-way through the War Eternal tour should have raised more concern. Whilst he will never likely be remembered as an important part of the band's history, he co-wrote a lot of War Eternal. I was looking forward to seeing the Amott/Cordle partnership develop - but it never had the chance to do so. The well-known Jeff Loomis was later announced as Cordle's permanent replacement, which probably raised my expectations for what was to come. I am a big Nevermore fan, and Loomis wrote most of that band's music single-handedly. I could not wait to see what he would bring to Arch Enemy going forward - but his only contributions to Will to Power were a few guitar solos. Reading some interviews at the time, it seemed that Amott deliberately kept Loomis out of the writing process for Will to Power - instead working more closely with drummer Daniel Erlandsson, who was heavily involved in the album's creation. I had hoped that Loomis not being involved in the creative side of the band would change, particularly with how stale Will to Power turned out to be with time, but when I opened the booklet of Deceivers, the band's latest release, when it recently dropped through my letterbox I was disappointed to again see his contributions limited to a few guitar solos. Why Amott seems unwilling to work with Loomis seems strange, considering that both his bother Chris and Cordle co-wrote many songs during their respective tenures in the band, but I can only assume that he does not consider Loomis' knotty, progressive songwriting style to be suitable for Arch Enemy. Based on how Will to Power turned out and my first few listens to Deceivers, though, a change is needed. For me, this latest album is nothing that Arch Enemy fans have not heard before. I know that it is quite fashionable in the metal world to consider much of Arch Enemy's catalogue to be weak, but when it comes to Deceivers, sadly, I generally have to agree.

In my opinion, Deceivers is one of the band's weakest albums. It does nothing massively different from before, but it lacks spark - with many of the songs here sounding like the band on autopilot. That being said, though, I think that it gets off to a good start. For me, the first four songs are easily the best cuts here - which had me quite excited when listening through for the first time. The opening song Handshake with Hell is one that grabs hold from the off, and the fact that it contains prominent clean vocals also makes it stand out. When White-Gluz joined the band I did wonder if they would start incorporating some clean vocals given her talents, but War Eternal only featured them occasionally in a background context. Will to Power then featured the ballad Reason to Believe which featured clean vocals for a good portion of it; but Handshake with Hell is the first traditional Arch Enemy song to feature clean vocals in such a prominent way. The song opens with a distant-sounding lead from Amott, before the rest of the band crash in - creating an epic-sounding build-up around him. A strident riff then comes in, and the song continues on in this stomping manner. Erlandsson's double bass drumming is not overly fast here, but it gives the song a kinetic energy - and White-Gluz's growls sound as good as ever. The verse is split half and half between harsh and clean vocals, which gives it a dynamic feel - before the chorus slows the pace somewhat. The chorus sounds heavier, although a melodic guitar lead gives it that trademark Arch Enemy sound, with White-Gluz delivering some of her most unhinged vocals yet. A low key bridge section features more clean vocals, which White-Gluz delivers against a pulsing synth and clean guitar backing. This part of the song builds in scope, before a solo trade-off between Amott and Loomis brings the house down. Despite what I am going to go on to say about much of this album, Handshake with Hell is an excellent opener - and it is one of the best modern Arch Enemy songs. Deceiver, Deceiver, which was released as the album's first single, is up next - and it returns to the band's typical sound. The pace is upped here, with lots of busy footwork from Erlandsson, and there is a bit of a punk feel throughout the fastest parts of the track. This energy makes it enjoyable, whilst the choruses slow the pace and go for a more epic overall sound with some more great vocals from White-Gluz. The mix of the break-neck sections and the more epic portions make for an dynamic arrangement, even if some of the transitions between these sections feel somewhat jarring. The band have done better, but as a representation of where the band are now, Deceiver, Deceiver is a solid track with a strong chorus. In the Eye of the Storm is another solid track, and a much more riff-focused piece that has a strong classic rock feel throughout. Amott is known to be a big fan of Michael Schenker, and the style of the German guitarist is very evident throughout the track. The main riff has a teutonic feel, with White-Gluz spitting out the lyrics between each iteration of, whilst the chorus keeps up the classic rock feel with a strong sense of melody. Amott's leads throughout the song are fairly basic, but full of great Schenkerisms (including during his solo), whilst the chorus vocal lines have a stadium-ready feel to it - similar in style to We Will Rise.

I said earlier that the album's first four songs are strong efforts, and The Watcher closes out this promising opening suite. Alongside Handshake with Hell, The Watcher is likely my favourite cut here - largely as it focuses so much on the melodic part of the the band's melodic death metal sound. This is largely evidenced during the chorus, though, as much of the song is fast-paced and in-your-face. The riffing throughout is very much death metal influenced and the driving drumming of Erlandsson ensures that the pace remains high. The verses again have a punky feel, which keeps them moving, with Amott's rhythms and the deep bass tones of Sharlee D'Angelo creating the basis for White-Gluz's writhing vocal display. The chorus is much more strident, though, with the pace once again dropped to allow for the anthemic vocal melodies to rain forth - which again are backed by a hooky lead. The chorus might well be the album's best, and it is one that is hard to get out of your head once you have heard it. The song is likely to be a real live favourite going forward, and it is always great hearing the band sounding so melodic. Sadly it is at this point, though, when the quality takes a dive. All four of the opening songs are enjoyable - but, for me, Poisoned Arrow is step down. It is one of two songs here co-written by Amott's brother Christopher, but it does not sound like the ripping tracks that he used to write when he was in the band. It is instead a true mid-paced track that never really gets going. The chorus is not bad, and it is backed by a decent guitar lead, but the rest of the song plods along somewhat. For me, Arch Enemy excel when they are playing faster. They also excel at an anthemic upper/mid-paced style, see Handshake with Hell, but their slower songs sometimes are a bit of a slog. Poisoned Arrow feels a bit like one for me, despite the decent chorus, and it certainly takes the shine off the album following a strong opening. Sunset Over the Empire is better, but it never reaches the heights of the opening numbers - and instead essentially sounds like the band cruising. It does open with a bass riff from D'Angelo, which is something a bit different for the band, but this does not last. It would have been interesting if the song continued in a more bass-led manner, as the band rarely showcase D'Angelo's bass playing at all, but his prominent playing only graces the song's intro - and the rest of the track is a typical fast melodic death metal track with a slower-paced chorus that attempts an epic sound. There are some strong synths during the chorus, which do boost it, but for me the song lacks great guitar leads. All of the best Arch Enemy songs are filled with great leads but, outside of a short solo section, there is little to write home about here from that perspective. House of Mirrors is better again, though, and is the song here which likely comes the closest to matching the quality of the opening few. It does not do anything hugely different, but there are some massive grooves throughout. Amott's riffing throughout the song is very good, and I also really like White-Gluz 1980s-esque opening scream. The chorus also has something of a slightly different vibe, largely thanks to the groove-based riffing and another excellent guitar lead. Arch Enemy's songs are not generally groove-focused, but it works well throughout House of Mirrors. It allows Erlandsson to try a few different tricks behind his kit, whilst both Amott and Loomis impress with busy guitar solos.

Spreading Black Wings, which is dedicated to the late Lars-Göran Petrov of Entombed fame, slows the pace down and goes for a heavier approach. Given that Petrov was a big figure in the Swedish death metal scene, it is unsurprising that a song that pays tribute to him focuses on the death metal side of Arch Enemy's sound. There is less focus on guitar leads here, and the song generally operates in the mid-paced realm. Thankfully, though, it is not as a much of a slog as Poisoned Arrow. A few guitar leads would have been welcome, but the song gets by thanks to its overall menacing tone. Some of the riffing throughout the song sounds quite evil - and it is one that very much goes for atmosphere rather than hooks. There is not even a guitar solo here, with the riffing and White-Gluz's throaty vocals holding everything together. Her vocal performance is very raw, which is again unsurprising, and the subtle use of cold synths (handled throughout the album by Erlandsson) helps to elevate the atmosphere. A short instrumental piece, Mourning Star, follows, which is the latest in the long line of atmospheric pieces written by the band. It starts off more synth-based than usual, though, with a cold keyboard line dominating, before Amott's mournful guitar comes in. The piece carries on the sombre vibes of the previous song, but like many of these interludes it never feels like an essential part of the album. The album is almost over by this point, though, and the penultimate cut One Last Time returns to something more akin to the band's typical sound following a few different focuses. It has all the makings of a strong song, but for me all of the parts do not really hang together. There are some great riffs throughout the track, particularly during the second half of the verses which have an Accept-like quality to them, but everything builds up towards a chorus that does not hit the mark. The rest of the song is pretty great, but the chorus is lacking in strong hooks. I actually prefer the atmospheric pre-chorus, which briefly features White-Gluz's clean vocals again, but the chorus again goes for that slower-paced feel - when an upbeat vibe and remaining in Accept-like territory would have likely sounded better. As such the song lacks punch, which is a shame as there is a lot of potential in many of its disparate parts. The album then comes to a close with Exiled from Earth, which is another strong track - which helps to end things on a high. It does not reach the heights of the opening suite of songs, but there is a big focus on guitar leads throughout - and there is an upbeat feel that White-Gluz nails. She has always been great at a fists-in-the-air style, and this song is very much in that vein. The chorus sounds massive, with some excellent guitar leads to back it, and Amott's melodic guitar solo is a great representation of his restrained style. There are better songs here, but Exiled from Earth is solid closer - particularly in the context of what is a faltering two-thirds of the album. All in, then, Deceivers is, for me anyway, a disappointment. Thinking back to Will to Power, though, I cannot say that I am hugely surprised, and Deceivers just feels like more of the same. It is telling that the best songs here are ones that do something a bit different or just go all-out as far as anthemic songwriting goes. For me, the band's songwriting style needs a shake up, and Loomis is surely the man to help Amott revitalise the band. Amott probably will not realise this, though, but I am hoping to see an improvement on the next Arch Enemy album whenever it comes out.

The album was released on 12th August 2022 via Century Media Records. Below is the band's promotional video for Handshake with Hell.

H.E.A.T's 'Force Majeure' - Album Review

Like many bands, the Swedish five-piece melodic rock/AOR act H.E.A.T have something of a lost album in their catalogue. Many albums that came out in 2020 were never toured properly due to the COVID-19 pandemic, and H.E.A.T's excellent H.E.A.T II (which I reviewed here) is one of them. I was supposed to see the band in May 2020 on the tour for the album, but of course the show ended up being postponed. In fact, it ended up being postponed so many times that I am still yet to use the ticket - with those same rearranged UK shows scheduled to take place next month. I am looking forward to finally seeing the band as a headline act, as I have only seen them as a support band previously, but it is a shame that H.E.A.T II was never properly toured. In my opinion, H.E.A.T II is one of the band's best albums - and it appeared in my Albums of the Year list in 2020. Whilst it did not see the band doing anything significantly different from previously, it felt fresh - and it also perhaps rocked a little harder than the more cinematic and somewhat experimental Into the Great Unknown from 2017. The album contains a number of soaring, hooky, modern AOR anthems which are likely to become setlist staples going forward, despite the lack of its own tour, and it upped the heaviness slightly without ever losing any of the band's pop sensibilities. It has also become an important album for the band retrospectively, as it turned out to be the last that they would make with frontman Erik Grönwall - who left the band later in 2020. Whilst Grönwall was not the band's original frontman, the band certainly seemed to grow with him. I think that it is fair to say that he is the frontman that most H.E.A.T fans outside of Sweden have ever really known, and I was sad to see him go. He has since joined Skid Row, who have a new album due out next month, so I will certainly be interested to see what he brings to that band - who I am also a big fan of. What tempered the disappointment of Grönwall leaving H.E.A.T, though, was the announcement that he was going to be replaced by a returning Kenny Leckremo - who sang on the band's first two albums before leaving in 2010. I had not kept up with Leckremo's work post-H.E.A.T, but the band's first two albums are excellent - even if they probably only became known by the band's wider fanbase following Leckremo's departure. Wanting to enter this new era swinging, then, the band got to work on a new album - which led to Force Majeure being released last month. Force Majeure is H.E.A.T's seventh studio album, and the first to feature Leckremo since 2010's Freedom Rock. What is clear when listening to Force Majeure, thankfully, is that the band have not missed a beat here. Leckremo, who's voice is similar to Grönwall's (if perhaps a little less gritty), sounds as good here as he did a decade ago - and the songwriting talents of guitarist Dave Dalone and keyboardist Jona Tee, along with Leckremo himself, are as sharp as ever. H.E.A.T's sound has not changed that much over the years, although it has become somewhat tougher - and that is on display throughout Force Majeure. I did wonder if they would return to the slightly sleeker sound of the original Leckremo era - but instead H.E.A.T have generally stuck to their modern sound here.

This riffier nature can be heard from the off, as the anthemic Back to the Rhythm opens the album in fine fashion. In my opinion it is very similar to the songwriting style that dominated H.E.A.T II and the fist-pumping rocker is another that is likely to become a setlist staple. The song's opening is pretty epic in scope, with a knotty guitar line and some driving drums from Don Crash - which soon gives way to a powerful verse. The riffier nature of the modern H.E.A.T is pushed to the fore here, with Tee's organ giving the verses some weight, whilst Leckremo instantly puts any concerns relating to Grönwall's departure to bed. Leckremo's performance throughout this album is great, and his strident delivery during Back to the Rhythm showcases a harder edge to his style than was evident previously. With the organ adding depth, and the tough guitar tones of Dalone shaping the song, it is a great way to kick off the album - and the song contains a powerful chorus with a repetitive hook that will easily stick in the brain. A melodic Dalone solo brings everything together, and the album fires out of the blocks thanks to this anthemic opening. Nationwide, which was the first song to be released from the album a few months ago, sounds a bit like a sequel to Dangerous Ground from the previous album. It is an upbeat, hard rocking slab of melodic rock which is based around some razor-sharp Dalone riffing. Tee's keyboards tend to take a backseat here, although they add a melodic halo to the song's big chorus, with Dalone instead dominating everything. His guitar playing throughout is a great mix of 1980s-style riffing and high-octane bluesy lead flourishes. It very much feels like a showcase song for his throwback guitar style, but Leckremo also shines during a hooky chorus which has more of an AOR sheen thanks to the keyboards being more present in the mix. Given the guitar-led nature of the song, Dalone's guitar solo is quite lengthy. The first half of his showcase is more melodic and based around some of the song's other melodies, before he transitions into a more frantic, shred-based style to inject some additional pace into the hard-driving piece. Tainted Blood slows the pace somewhat, and goes for a grittier, mid-paced hard rock sound. Dalone's guitars once again drive everything, whilst Crash's drums power through the mix thanks to his staccato rhythm - but there is also plenty of space in the mix for Tee's keyboards. He uses a lot of organ sounds again here, and the organic pulses suit the tougher-sounding piece. A big keyboard swell is never too far away to temper the harder edges of the guitar tones, and the combination of the guitars and the keyboards here recalls many of the classic rock bands of the 1970s - with shades of Deep Purple and Uriah Heep certainly on display. The song is less hooky than the opening two cuts for me, though, as the track is one that focuses more of riffing and rhythm than it does big melodies. Its old-school hard rock feel makes it still very enjoyable, though, even if the band's trademark focus on a big chorus is somewhat lacking here.

Hollywood certainly returns to the band's love of a big hook, though, and the song actually seems to turn the clock back a bit to the band's first handful of albums. There are shades of Freedom Rock and 2012's Address the Nation here, as the grittiness has been toned down somewhat. The song still rocks hard though, thanks to Dalone's driving riffing, but the keyboards are much more prevalent here. The verses have lots of keyboard hooks, whilst the upbeat chorus is drenched in synths -  as well as big vocal harmonies to boost the melodies. The song's chorus is one of the most memorable here, and it is unsurprising that the song was released as a single to help promote the album. I can imagine it going down well live thanks to the sing-along nature of the chorus, and it also provides a bit of link to the band's past following three riffier pieces. Harder to Breathe slows the pace down somewhat, and goes for a mid-paced approach - although it is not as tough or retro-sounding as Tainted Blood. It actually reminds me a bit of Mannequin Show from 2014's Tearing Down the Walls as the rhythmic approach taken throughout is quite similar, and there is also a wordless vocal hook that is used throughout which recalls the previous single. Due to the rhythmic approach taken there is a lot more space for the keyboards to breathe. Dalone and bassist Jimmy Jay create the rhythm along with Crash, whilst Tee's keyboards add plenty of floating melodies. The song is also a great showcase for Leckremo, as there is a lot of space in the mix for him - and he unleashes a few big screams towards the end, too. Not for Sale picks up the pace again, but the song remains very keyboard-heavy. The cinematic sound from Into the Great Unknown is referenced somewhat here, particularly during the epic intro section, but in general the song is quite similar to the album's opening couple of tracks - just with a greater synth presence. Dalone adds a few high-octane lead flourishes, but in general he focuses on riffing throughout. This gives the song's its hard-hitting vibe, but there is a strong melodic edge throughout thanks to the keyboards. They are very prominent during the verses, which feel sweeter thanks to their presence, whilst the chorus is boosted by a wall-of-sound approach and plenty of vocal hooks. Dalone does get to shine during a lengthy guitar solo section, though, which sounds great - especially the second half which sees him backed by some growling organ. One of Us is something of a ballad, and it slows the pace considerably. It opens with some piano from Tee which Leckremo soon starts to sing over. I say the song is something of a ballad because, despite its slower sections, it still rocks out quite hard at times. I am not sure that the modern H.E.A.T are capable of not rocking out at every opportunity, and One of Us still hits these heights despite essentially being a ballad. Only really the first verse is genuinely slow-paced, but by the time the band crash in for the chorus the song feels weighty despite its slower vibes. The song's chorus is one of the album's best in my opinion, too. Leckremo really shines here, and the big vocal harmonies bring it to life. In classic 1980s ballad fashion, too, there is a bit of a key change towards the end which ups the power overall - and Dalone's melodic guitar solo sees him operating in a slightly more restrained manner than usual.

Hold Your Fire returns to the album's typical sound, and the tough modern H.E.A.T style is very much on display here. Dalone's inventive riffing keeps the song ticking, and his playing throughout is excellent. From simple power chord progressions to knottier melodies, Dalone drives everything here - whilst Tee's varied keyboard tones add depth. There is a lot more organ on display here, which helps to create some more old-school classic rock vibes, but there are also synths - which shimmer around the chorus. The chorus is another that really stands out for me, too. Leckremo's approach to vocal melodies is very hooky, and his style makes the two-part chorus sound as powerful as it does. The first part is more upbeat, with AOR hooks, whilst the second is weightier and more rooted in classic rock. Paramount opens with a slightly cinematic guitar lead, the melodies of which later form the basis of the chorus, and the song takes a slightly different path than typical for H.E.A.T. It still feels at home on the album, and the verses are crunchy as expected, but there is something of a pomp rock feel throughout the chorus and some of the melodic choices. The chorus has a bit of a Styx feel in my opinion, with some melodies from the Dennis DeYoung playbook, and this is backed up by some of the keyboard choices which are used throughout. There is a lot of bombast here, which helps the song to stand out here as being something a bit different for the band. As if wanting to showcase that their diversion into pomp rock was brief, Demon Eyes then crashes in with its fast-paced riffing and aggressive drumming. It is easily the fastest and heaviest song here, and it borders on metal at times due to its ferocity. Crash's drumming is busy throughout the track, with some occasional double bass flurries, whilst the riffing throughout is fast-paced and in-your-face. The band have rarely sounded this intense, and it is great seeing them really go for it here. There is a lack of the band's usual melodic approach, but the overall vibe of the track works well - particularly during Dalone's shredded solo. I cannot imagine that this is a sound that H.E.A.T will attempt too often, but it shows that the band can really rock when they want to - and Leckremo also showcases a surprisingly gritty side of his voice during the throat-shredding chorus. The album then returns to something more familiar with the uplifting and melodic Wings of an Aeroplane - a soaring mid-paced rocker which boasts another great chorus. This is another track that feels like a bit of a throwback to the older H.E.A.T sound, although Tee's retro organ ensures that there is still some grit there. The verses are often keyboard-led, with Dalone only joining in part of the way throughout, whilst the choruses are big and powerful - with lots more vocal harmonies. Following the pseudo metal of Demon Eyes, Wings of an Aeroplane is very much classic H.E.A.T - and another big key change in the final chorus is a great way to close the album out. As such, Force Majeure is another very good album from the Swedish band. I do not think that it is quite as strong as H.E.A.T II, but it carries on the sound forged on that album well and includes a couple of throwbacks to the band's past - as well as pushing their harder rock tendencies further in places. It is a great first album in a decade for Leckremo, too, and I look forward to seeing how they push on again with him at the helm.

The album was released on 5th August 2022 via earMusic. Below is the band's promotional video for Back to the Rhythm.

Amon Amarth's 'The Great Heathen Army' - Album Review

Given the ambivalence and sometimes contempt in which metal is held by certain portions of the UK population, it is always good when a band rises above this and becomes big enough to play in the arenas which the more mainstream acts occupy on a regular basis. Metal is certainly not demonised in the UK, but it is certainly less understood or accepted by the mainstream than it is in many other European countries - which I have always found strange considering how important the UK has been over the years to the genre's development. I think it comes down a closed-minded approach that many residents of the UK have, which covers everything - not just music. I feel that people in the UK are generally less willing to try new things than people from other countries - which leads to metal being out of reach for many. Of course, though, this affects the metal community, too. The amount of squabbling that accompanies every line-up announcement that the Bloodstock Open Air festival makes is testament to this. Things that are not 'true' metal or 'metal enough' are often dismissed out of hand, whereas it is not uncommon to see Def Leppard following Behemoth at big European metal festivals. Such a bill would cause a meltdown here in the UK, from fans of both, so I do think as a country the UK does hold itself back when it comes to musical acceptance - from both sides. That being said, though, I do feel that metal's reach has expanded somewhat during the years which I have been regularly attending gigs - and one band that showcases this in the UK is Sweden's Amon Amarth. The band were formed in 1992, which makes them 30 this year, and have been releasing albums pretty regularly since putting out their debut album Once Sent from the Golden Hall in 1998. In many ways, the band's success is one of old-fashioned graft. They established their sound early on (despite getting more anthemic over time), released many albums of a similar quality, and toured relentlessly. There is nothing fancy about Amon Amarth, and they have more than earned their success at this point. Despite this, though, their popularity really seems to have shot up in the last few years. It was not that long ago that they played at the now-demolished The Hub in Plymouth, which was a very small club, whereas a couple of weeks ago I saw the band entertaining a large crowd in Cardiff's Motorpoint Arena - as part of a co-headline bill with Machine Head. It is great to see a band as heavy as Amon Amarth getting such a level of support here - but it should not really be a surprise given their discography. Despite generating some criticism for their samey sound, for me Amon Amarth have just been consistent - as their newly-released twelfth studio album The Great Heathen Army shows. It is the band's first album in three years, following 2019's Berserker (which I reviewed here), and it picks up where that album left off - with plenty of hard-hitting melodic death metal anthems showcasing the band's fists-in-the-air style perfectly. The band's last few albums have all been on the longer side, but The Great Heathen Army is shorter - giving it a conciseness which has perhaps been missing of late, which allows the album to sink in quickly.

The album opens with its first single Get in the Ring. It opens fairly slowly with a menacing riff which gradually builds up until Jocke Wallgren's drums kick in - and the riff is reprised in a harmonised manner, with both Olavi Mikkonen and Johan Söderberg coming together to lay down the melody. This riff later forms the basis of the chorus, which is somewhat stop-start as a result, but the verses are much more fluid. Wallgren's double bass drumming keeps the verses moving, although the overall pace is not that fast - with the song feeling mid-paced and punchy despite his fairly fast footwork. In truth, Amon Amarth generally operate in a mid-paced realm. This allows the deep barks of frontman Johan Hegg to really jump out of the speakers - and it also allows the band's riffs to have a slight doomy edge. Despite being melodic, the band have always included plenty of old school death metal in their sound, and songs like Get in the Ring showcase this. The melodies are quite mournful, even though they are hooky, whilst the overall riffing and the deep bass tones of Ted Lundström only add to the overall heaviness. The song is a great representation of the rest of the album, too, as it has a strong, anthemic chorus - which is very much the focus here - as well as plenty of big guitar leads, including a brief solo. The title track follows, which slows the overall pace somewhat and ups the heaviness. The riffing here is much doomier this time, despite the pace being faster than is typical for doom, whilst Lundström's bass playing really cuts through the mix. His playing throughout the album adds plenty of depth, whilst the ringing chords of Söderberg allow Mikkonen the occasional lead flourish. In general, though, this song is one that is more focused on riffing and atmosphere. The occasional leads are welcome, but the rhythmic song is more served by its riffing. Wallgren's drum accents really help, too, and his occasional bass drum fills inject some excitement into the doomy throng - shaking the song up in a manner that would not happen if he stuck to a traditional beat throughout. Hegg sounds at his most evil here, too, and his deep growls perfectly suit the doomy track - with the closing chorus section in particular standing out thanks to his anthemic chants. Heidrun turns the tables somewhat, and goes for a more upbeat sound that injects some folk-inspired melodies into the band's formula. The band have written folkier songs before, but this one really stands out for me and it is one of the album's catchiest tracks. There is more of a focus on guitar leads throughout, with these melodies pretty much persisting throughout the whole song. A hooky guitar lead is never too far away, and Hegg's vocal melodies this time are much more accessible. His growls are somewhat less deep here, and the chorus is one of the album's hookiest moments - thanks to his vocal lines and an overall bouncy vibe. A strident guitar solo, which focuses on the song's main melodies rather than shredding, only boosts the song's hooky nature - and I can see it becoming a real live favourite over the years thanks to its anthemic qualities.

Oden Owns You All then gets back to heavier territories, and the pace is upped quite significantly. I mentioned earlier how Amon Amarth generally operate in mid-paced realms, which is true, but occasionally they do let rip - and Oden Owns You All is once such example. Amon Amarth's older albums were closer to true death metal than their more recent albums are, so Oden Owns You All generally feels like a bit of a throwback to the band's first few albums. A few mid-paced sections with guitar leads are thrown in, but generally this is a faster song with some ferocious Wallgren drumming and some of Hegg's most unhinged vocals. His death growls during the song are possibly the deepest that he has sounded for a while, and he also unleashes a few higher screams - adding an accent to his performance here and there. The occasional guitar break is a welcome respite from the oppressive riffing, but they never overpower the death metal vibes conjured up here. This is a song that very much showcases the band at their heaviest, and those who have been disappointed with the band's more anthemic sound of late are likely to find plenty to enjoy throughout - even if there are still hooks to be found. Find a Way or Make One returns to the album's core sound, though. It is another mid-paced melodic death metal anthem similar in nature to the album's opening couple of numbers. Wallgren's drumming this time is quite groove-based, and almost Phil Rudd-esque in its simplicity, whilst the riffing of Mikkonen and Söderberg is crunchy and uncomplicated. Following the folky guitar workout of Heidrun and the crushing Oden Owns You All, Find a Way or Make One revels in its simplicity. It is a great headbanging track that showcases the modern Amon Amarth sound perfectly - whilst Hegg delivers another powerful vocal performance that easily rises above the din of the rest of the band. There is a melodic guitar solo section, too, which is welcome as the rest of the song does not exactly focus on guitar leads. Dawn of Norsemen follows a similar path, too, but this time the groove-based elements of the band's sound are pushed to the fore. Wallgren's drumming is faster this time, but the overall riffing is much slower. This creates a great contrast between the two instruments, and contributes to the song's grooves - especially during the intro. There is also a bit more of a focus on lead guitar playing here, too. There are quite a few lead breaks here, and the chorus is underpinned by a hooky melody - which Hegg's vocals very much then borrow from. There is a lot of memorable guitar playing throughout the track, and there are a few more folky moments, too - although they are not as overt as they were throughout Heidrun. All of this together ensures that the song is another memorable cut, and it is another track here that is very hooky - particularly during the guitar-heavy chorus. A low key instrumental section towards the end of the song lowers the tone a little, though, and adds a brief moment of atmosphere in what is otherwise a rather full on album.

Up next is Saxons and Vikings, which is probably my favourite song here. It features three members of Saxon: frontman Biff Byford alongside guitarists Paul Quinn and Doug Scarratt; and they add a NWOBHM heft to the Amon Amarth's typical sound. Hegg added his vocals to Saxon's Predator on their 2018 album Thunderbolt, so Saxons and Vikings sees the British band repaying the favour. It opens with Wallgren's drums, before a big riff kicks in - which has some great staccato groove to it. This groove is retained throughout the verse, which Hegg sings in his usual deep manner. The song builds as it moves along, getting faster and heavier, before a driving chorus kicks in. The second verse features Byford's vocals, who's gritty clean delivery still sounds powerful in the context of Amon Amarth's sound. Byford always sounds great and he then lays waste to the same fast-paced chorus. My favourite part of the song, though, is the bridge following the second chorus which see Hegg and Byford trading vocal lines. This is creates a very powerful sound, and their two voices perfectly compliment each other despite their different styles. Both Quinn and Scarratt add some guitar solos, too, which are quite different from Amon Amarth's usual style as they sound more old-school in tone. Skagul Rides With Me then returns to the album's typical sound, with a strong mid-paced rhythm and plenty more guitar leads. This is another song which places a strong emphasis on guitar leads and there is less of a focus on traditional riffing here. The rest of the band generally create a backing rhythm for the leads and vocals to sit atop, which allows the hooks to stand out. As such, the overall arrangement feels pretty simple - and the song is very much one which allows Hegg to do what he does best. Even the ever-present guitar leads cannot dominate his deep growls, and the song's chorus has an epic, even power metal-esque, edge thanks to the combination of the melodic leads and Hegg's bellowing. The album then comes to a close with The Serpent's Trail, a mid-paced track which opens with a powerful riff that really jumps out of the speakers. It is one of the best riffs here in my opinion, and it really lumbers along, but it soon drops away to leave Hegg delivering a spoken word part against a fairly low key backdrop. This transition is a bit jarring, but it works better than it should - and once the song gets going again the band's traditional sound is very much on display. The opening riff is later repurposed for the chorus, which is another memorable moment thanks to its stomping rhythm and the vocals which perfectly lock into this groove. There are better songs here, but The Serpent's Trail works well as an album closer due to its overall heaviness and expansive sound. I have enjoyed all of Amon Amarth's albums really, but I think that The Great Heathen Army is already one of my favourites. I like how it is has trimmed some of the fat of their other recent albums to present a much more compact listening experience, and there also seems to have been more of a focus on melody this time, too. It does not change things significantly, but it shows why Amon Amarth are so popular here in the UK, and fans of the band will certainly get plenty of mileage from it.

The album was released on 5th August 2022 via Metal Blade Records. Below is the band's promotional video for The Great Heathen Army.

Evergrey - Bristol Review

Given the amount of events that ended up being cancelled, I am still surprised that I travelled up to Bristol yesterday for a concert. The state funeral of the late Queen Elizabeth II had hastily designated 19th September 2022 as a bank holiday, and many businesses took the decision to close as a result. Whilst there was certainly no ruling in place that concerts or similar should not take place, many venues decided to close. Given the amount of disruption that the live music industry has suffered in recent times due to the COVID-19 pandemic, the voluntary cancelling of shows seems a strange one - especially as some of those shows had likely already been postponed at least once. I can only assume that the decision was one of optics, and an attempt to do the 'right thing' - but, as is often the case, such decisions often lead to inconsistency. I was supposed to be travelling to Bristol yesterday with a friend, who was going to be attending Magnum's show at The Fleece, but his plans were cancelled. I had expected my plans, Evergrey's show onboard the Thekla, to similarly be cancelled, but the venue held firm. I was glad of this as Evergrey's tour had already been postponed from last year and it was unlikely that one lonely Bristol show would be rescheduled with the rest of the tour still going ahead. It took a few days to get confirmation from the venue that the show was going ahead, though, but once they put out a statement I quickly purchased a train ticket and continued to look forward to what would be my first experience of Evergrey as a headline act. I had seen the Swedish progressive metal band live three times previously, though: once at a festival and twice as a support band. The most recent of the three came in 2019, when I saw the band opening for Kamelot in Birmingham - which I remember being an excellent set from the five-piece. I have been a fan of the band for quite a few years, and my opinion of them only continues to improve with each new release, so getting the chance to finally see them headline was something I was excited for. Evergrey are one of those bands who usually only play one London headline show as part of a wider European tour - but this time opted for a generous helping of UK shows as part of a mammoth European trek. I had wondered why the band had suddenly decided to branch out in this way, but I certainly was not complaining. As much as I enjoy heading to London, it is always welcome to see bands come down to the South West - and Bristol is always a fun place to visit. Having said that, though, due to the aforementioned funeral, most of it was closed yesterday. Luckily Wetherspoons was open so that I could get a late lunch when I arrived, but I spent much of the rest of the afternoon in my hotel as Bristol, as I imagine most other places in the UK were, was a bit of a ghost town. Still, I was grateful that the gig had not been cancelled - so I enjoyed a relaxing afternoon before heading down to the Thekla for around 6:45pm - 15 minutes before the doors opened.

When I got to the venue there were not exactly many people waiting outside, and I wondered if the band had over-stretched themselves playing so many UK shows. Thankfully, though, the crowd swelled as the evening progressed - but the slow trickle of punters meant that the first of two support acts was playing to a very small crowd. The venue opened at 7pm and there was a 10pm curfew, which meant that three bands had to squeeze their sets into three hours. Usually 10pm curfews mean that venues open at 6pm, but clearly the Thekla wanted to get done and dusted as quickly as possible - which meant that Italy's Virtual Symmetry went on about five minutes after the doors opened. It was a real shame that they were playing to so few people, though, as their short set was excellent. I had not heard of the band before, but their brand of melodic progressive metal, with the odd hint of bombastic power metal, was right up my alley. I might not listen to this type of music as much now as I did in the past, but I loved my time with Virtual Symmetry. They released their third, self-titled, album last week, which I picked up after their set, but they only had time to play around four songs. Sound-wise, the band played a pretty typical brand of progressive metal - but there was definitely a big focus on hooks. At times they reminded me a bit of Threshold, but they were a bit more bombastic (are Italian bands ever not?) and technical - with both Valerio Æsir Villa (guitar) and Marco Bravi (keyboards) soloing in all of the songs played. The rhythm section were really tight, too, with particular mention going out to Alessandro Poppale (bass guitar) for his fluid and melodic bass playing. Despite a bit of a muddy sound mix (which persisted throughout the evening), Poppale's bass playing stood out - and his atypical melodies added a different dynamic to the band's material for me. Everything was brought together, though, by the dramatic voice of frontman Marco Pastorino (who has sang and playing guitar in a number of other similar bands including Secret Sphere) - who's high-pitched voice was perfect for the band's sound. His vocal lines throughout were very hooky, which complimented the melodic playing of the rest of the band perfectly. Due to Virtual Symmetry's focus on melodic songwriting over excessive noodling, I thoroughly enjoyed their set. I was sad when it came to an end, as they did not have much time to play with at all, but as mentioned I picked up a copy of Virtual Symmetry after their set, which the whole band signed, which I am looking forward to getting stuck into.

After a very quick changeover, which cannot have been longer than about 10 minutes, the evening's second support act took to the stage. By this point there were more people inside the Thekla - so the French band Fractal Universe had more of a crowd to play to. I stood further back for their set, largely as they started whilst I was still chatting to the guys from Virtual Symmetry, and enjoyed their strange sound from behind the sound desk. Fractal Universe are often described as a progressive death metal band, which I suppose they are in some ways, but in my opinion a significant chunk of their set was not death metal at all - as the band also opted to rely heavily on an atmospheric sound that made use of harmonised clean vocals. In truth, I am not really sure what to make of Fractal Universe. On the one hand, they seemed like a genuinely unique band. Lots of progressive metal is such because it follows a certain template or sound rather than it actually being progressive in any meaningful sense, but Fractal Universe have their own sound. On the other hand, though, the songs did not do all that much for me. Given that I am generally more at home with more melodic bands, I actually think that Fractal Universe were at their best when they were at their heaviest. Frontman Vince Wilquin's growls were great, and he powered over the technical riffing of the rest of the band, but I thought that the clean vocals were a bit on the weak side - which meant that the quieter moments fell flat for me. I liked the variety, and the fact that you were never quite sure in which direction the band would head of in, but the songs did not always hang together that well for me. Like Virtual Symmetry, though, the band suffered from a muddy sound - which likely held them back. They are likely one that has a lot of subtleties in their music, which a muddy sound mix can obscure. The quieter moments may have sounded better with a clearer mix - but I am not sure that this would have overcome my concerns with the weak clean vocals. The riffier sections with the growls were generally great, though, and some of the riffs were impressive - with lots of knotty progressions and melodies. A couple of songs took a bit of a left turn into jazzier territories, too, with Wilquin putting down his guitar and picking up a saxophone for a quick burst of soloing. Moments like this will certainly help the band to stand out when looking back in the future - but I am not sure that the saxophone added that much really, as it was never really integrated into the song and purely used as a vehicle for a brief solo.

A few others likely snuck in whilst Fractal Universe were playing, but the crowd did not grow significantly after the initial swell. Following the French's band's set and a 20 minute or so changeover, the lights went down again and Evergrey took to the stage - launching into the melodic Save Us from their latest album A Heartless Portrait (The Orphean Testament). I have seen bigger crowds at the Thekla, but I have also seen smaller ones. For a Monday night though, and on a day that was heavily disrupted at short notice, I did not think that the turnout was too bad. I am sure that the band would have liked a few more to turn up, but it was certainly not the disaster that it could have been given that Evergrey are not known for their UK tours. The atmosphere throughout, though, was great. Everyone who turned up was clearly very much into the band, which meant that every song of the band's 90 minute set was warmly-received - and there was plenty of singing at appropriate moments. The band's current tour is promoting both A Heartless Portrait (The Orphean Testament) and 2021's Escape of the Phoenix - which never received its own tour due to it being postponed. Seven of the 14-song set comprised of cuts from these two albums - with only two numbers played coming from the band's past (i.e. from albums not released by the current line-up). Evergrey's recent run of albums is great, though, so it is fitting that so much attention was lavished on them throughout the night. Save Us proved to be a strong opening, with its gang vocals and emotional chorus, whilst Weightless then showcased the band's hookier side with some dry riffing and a soaring chorus. Despite sometimes fighting the very loud band, frontman Tom Englund was on fine form vocally throughout. He has always been one of the standout vocalists of the progressive metal genre, and he sounded great at the Thekla - but it would have been nice if the sound engineer had not opted to try and deal with the muddy sound by just turning everything up. Sometimes this meant that Rikard Zander's keyboards were buried in the mix, but things did level out somewhat as a set progressed.

As things moved on, hookier numbers sat side by side with more technical numbers. Distance showcased the band at their most bleak, where as the newer Midwinter Calls allowed for some crowd participation - with the crowd rising above the band to sing the chorus melody with ease. Another highlight for me was the epic A Silent Arc, which is one of the most progressive cuts of the band's recent catalogue. It is a longer-form piece which opens with a lengthy keyboard build - before chaotic riffing from both Englund and Henrik Danhage (guitar/vocals) takes over. It came across really well live, too, with the chorus being another big moment in a set full of them. The ballad-esque In the Absence of Sun allowed Englund to be at his most emotional, with a strong piano backing, whilst one of the hookiest moments then reared its head in the form of Call Out the Dark - which has a very simple chorus that the crowd got behind. By this point, though, the main set was coming to a close. The weightier My Allied Ocean allowed for a bit more technical riffing, whilst the band brought things to a close with one of the two older cuts played: A Touch of Blessing. The song has always been a live favourite, and it was brought to life effortlessly by the band. The twin guitar leads throughout have always been one of those standout moments of the band's cannon, whilst the big chorus sounded great with the whole band backing Englund up vocally. After a brief break, in which the band all changed into white shirts, Evergrey came back out for a three-song encore. The heaviness of the newer Blindfolded was the last out-and-out riff-fest of the night, and it energised the crowd for the home straight. The second older cut was then played, with the anthemic Recreation Day getting an airing. This was another song which prompted some crowd participation, and the whole crowd sang back at the band - which led to another memorable moment. Jonas Ekdahl's marching drums then heralded the arrival of the night's final number, the epic King of Errors - one of my favourite Evergrey cuts. It has been used as a show-closer at all of the previous Evergrey shows that I have been to, and it works really well in that context. It has possibly the best chorus in the band's catalogue, and it was another that was sung by everyone in attendance. That and the great guitar solo trade-off between Englund and Danhage ensured that the evening ended on a high - and the band took their bows to large cheers from the enthusiastic Bristol crowd. The setlist was:

Save Us

Weightless

Distance

Eternal Nocturnal

Midwinter Calls

Where August Mourn

A Silent Arc

In the Absence of Sun

Call Out the Dark

My Allied Ocean

A Touch of Blessing

-

Blindfolded

Recreation Day

King of Errors

I had decided to get a t-shirt at the end of the show, but as I was queuing up I noted that the tour shirts did not include the Bristol date! Every other show was accounted for, but for whatever reason the Bristol show had been left out. As such, I decided against getting a shirt, and headed out into Bristol to find something to eat. Despite this disappointment, and a rather muddy sound mix throughout, I really enjoyed my time with Evergrey last night. It was great finally getting to see them as a headline act, and the setlist was a great mix of the band's excellent recent albums. Whilst I am sure that some would have preferred some more older cuts, I like how forward-looking the band are at the moment. They have been very prolific of late, so I would not be surprised if another album from the band is not too far away - and I hope that more UK shows follow, as I would definitely like to see them again.

Cats in Space's 'Kickstart the Sun' - Album Review

One of the great things about following the British six-piece Cats in Space is how prolific they are. The band were formed back in 2015 and released their debut album Too Many Gods later that year. Since then, they have released four more studio albums, a Christmas-themed mini-album, and an official live album - as well as a number of other limited releases such as singles and deluxe reissues. For those who like product, and lots of it, Cats in Space are certainly the band to follow. They seem to have that old-school work ethos which leads to something new never being too far away, which is fitting considering the era that the band are most influenced by. All of this product would be for nothing, though, if the band's music was not up to scratch - but it very much always is. They are now five albums into their career, and their brand of 1970s-style pop/hard rock that borrows from Queen, the Electric Light Orchestra, Sweet, 10cc, Boston, and Cheap Trick sounds as fresh now as it likely did back in 2015. I say 'likely did' as sadly Cats in Space are not a band that I have been following since the off. I first came across them properly in 2017, when I saw them opening for Deep Purple in Birmingham, but it was not until 2019 that I started actually listening to them. I picked up Daytrip to Narnia a few months after it came out, and was pretty much hooked from the off. I enjoyed it so much that I went to see the band in December 2019, too, and from then I have not looked back. 2020 saw change in the band, with current frontman Damien Edwards coming on board, but in my opinion this has only improved them. As much as I like what Paul Manzi, as well as Mark Pascall during his brief tenure, brought to the band, for me Edwards has taken Cats in Space to the next level. His background in musical theatre has added an extra level of flamboyance to the band's sound - which is very fitting considering the overall vibe that they are trying to establish. He made his debut in the studio with the band on 2020's Atlantis (which I reviewed here) - an album which made my Albums of the Year list that year. I am never really sure which Cats in Space album is my favourite, as they are all excellent, but an argument could certainly be made for Atlantis being it. It contains a number of my top Cats in Space songs, and it is one that I return to often. Wanting to capitalise on its success, the band were already hard at work on the follow-up whilst Atlantis was still being lapped up by the fanbase. Bandleader and guitarist Greg Hart is certainly a prolific songwriter, something which is very much on display throughout Kickstart the Sun - the band's fifth studio album which was released back in July. The 15-track album is easily the most ambitious album that the band has attempted yet. The classic Cats in Space sound is very much intact still, but there are a few more progressive moments thrown in this time - and everything feels that little bit bigger. As such, it is the longest Cats in Space album to date, and also the one that has taken the longest for me to appreciate. Generally the band's albums are pretty instant, but this one has taken a bit more time to reveal itself - as, alongside the band's usual 1970s pomp rock anthems, there are some more complex pieces here this time.

The album opens with one of three iterations of its title track. The main song Kickstart the Sun sits in the middle of the tracklist - but the album opens and closes with shorter versions of it. The intro version is essentially an a cappella vocal rendition of part of the song, with the voices of Edwards, Hart, and regular collaborator Mick Wilson (Flame; 10cc) all mixing together to create a rather Queen-like sound. Despite the grandeur of sound that the three voices create, the album's intro is still relatively low key - and the album really gets going proper when King of Stars kicks in after a minute of so. The seven minute-plus track is very much a representation of what the album is about - as it contains the classic Cats in Space sound with a number of other bells and whistles. It opens with a drum barrage from Steevi Bacon, which then leads into the song's soaring chorus. Opening the song with its chorus works well, as it instantly showcases Edwards' powerful voice - and the driving guitars and Hart and Dean Howard create a hard rocking bed. Some of the songs here feature a one-man horn section, and King of Stars is one of the tracks that features the talents of Jack Birchwood. His horns add a lot to the powerful chorus, and help it to sound even bigger, without changing the overall character of the band's sound. The additions are generally used fairly subtly throughout the album, but they all help to enhance the band's trademark sound. The focus is still very much on the core, though. King of Stars is powerful due to the band's usual hard rock guitar approach, as well as the varied keyboard playing of Andy Stewart. His piano playing is all over the song, adding driving melodies, whilst the synths fill all of the gaps with retro shimmering noise. The song has a pretty dynamic arrangement, too, with slower sections that feature on Edwards' voice and the piano, whilst other moments are more upbeat - such as during Howard's melodic guitar solo. It is a great song which showcases both the classic Cats in Space sound as well as their expanded ambition here - and it opens the album in fine fashion. The album's two main singles follow, and they very much feel like classic Cats in Space numbers with very accessible choruses and plenty of hooks. Poke the Witch is up the first, which is a mid-paced glam rock stomper that sounds like Cats in Space singles past. The song is very piano driven, with Stewart's playing dominating the verses, whilst Edwards makes his vocal hooks sound effortless. The verses have a bit of a staccato stomp thanks to the piano melodies and Bacon's drumming, whilst the chorus soars in a rather laid back way - with plenty of big vocal harmonies. The vocal interplay between Edwards, Hart, and bassist Jeff Brown is as good as ever here - and the chorus sounds massive thanks to their voices intertwining. A guitar solo section started by Howard and closed by Hart adds some additional melodies to the song, but overall this is a track that is very much characterised by old-school piano hooks and a big chorus.

Teenage Millionaires follows, and the album's second single is a much more upbeat and hard rocking cut. It reminds me somewhat of Queen's first couple of albums, and even some of the early hooky numbers from Uriah Heep - particularly during the chorus which has some very Uriah Heep-esque vocal harmonies. Bacon's drumming helps to build the song, switching from focusing around a floor tom pattern to a more traditional beat, whilst the guitar riffing is a bit more in-your-face this time. Pulsing keyboards add a strong pomp rock edge to the track, which is almost Magnum-esque at times, whilst Hart and Howard lay down the occasional twin-guitar lead to act as punctuation between different sections of the song. Howard also lays down a relatively short, but blistering, guitar solo which builds on the overall vibe of the song nicely. Songs like this are as hard rocking as Cats in Space get, but it still contains the band's usual approach to melody - and the chorus is one of the hookiest here in my opinion. Goodbye to the American Dream is much more low key, and goes for a more atmospheric sound. Cats in Space have written songs like this before, and they excel at this more spacey sound. Stewart's electric piano forms the basis of the verses, which Edwards then croons atop. Depth is added by the pedal steel swells of session player B. J. Cole, who has contributed to a huge amount of well-known albums over the years. His additions are subtle, but they add a lot of depth, and he is featured on a few songs throughout the album. The song is still quite dynamic, though. The verses are quite slow, but the choruses are more rocking in nature - with more of a driving rock sound that includes plenty of guitars and more horns from Birchwood. 1,000,000 Miles is more of a ballad, which is again based around the piano playing of Stewart. The first verse is essentially just the piano and Edwards' voice, with the occasional sparkling synth hook, which is continued on into the first chorus. The song does expand as it moves along though, with the rest of the band joining in from the second verse onward. Hart creates some of his trademark Boston-esque guitar orchestrations during the verses, which add a grand sound, whilst the addition of the rest of the band and some big vocal harmonies boost the second chorus. Howard's guitar solo is similarly grand, too, and it apes some of the chorus vocal hooks - pushing the overall emotional side of the song further. It is perhaps one of the band's best ballads yet, and it is one that I return to often. Fifty-One Pillow Bed then returns to something of a simpler 1970s glam rock sound, but there is a smoothness to it that certainly helps the track to sound a bit more modern. The additions that have made some of the preceding songs sound bigger are absent here, and the track is very much old-school Cats in Space in sound as a result. Edwards' vocals here are perhaps less dramatic, but they are no less melodic - and his chorus hooks are perhaps the best part of the song. Hart's guitar solo channels those old Rockman-esque guitar tones, recalling early Boston, whilst the three-man choir of Edwards, Hart, and Brown effortlessly bring the chorus to life. The song has been a favourite since my first listen to the album, and its hooks are ever-present in my brain.

Charlie's Ego is somewhat similar in style to Poke the Witch, and the short pop rocker is packed with driving piano melodies. Even the chorus has a similar hook to Poke the Witch, which I imagine is deliberate as there are lyrical references to witches throughout the song, but it is somewhat grander overall thanks to some more of Hart's guitar orchestrations. They inject lots of epic melodies into the choruses - whilst Howard's tougher guitar rhythms add weight. As the song moves along it feels heavier than Poke the Witch, too, and it goes to grander heights with its endless guitar hooks and the vocal additions of Julie Maguire (Space Elevator) - whose powerful voice mixes nicely with Edwards' as the song moves towards its end. The album's title track follows, and it is another longer piece with plenty of dynamic movements. It builds up gradually as it moves along, and opens slowly with Stewart's piano and Edwards' voice. The chorus is reminiscent of the album's intro, but this time it has a piano backing to add further depth. Synths and percussion are slowly added into the mix following the first chorus - and it is here where the song starts to build. The second verse and chorus feel bigger - but things change following this as the rest of the band come in and the first of a number of guitar solos adds some excitement. From this point on the song is generally more hard rocking, although it remains a grander-sounding mid-paced piece. It never roars out of the blocks, but the heavier guitars and occasional bursts of organ give the song more weight - whilst lots of emphasis is placed on vocal harmonies, with Maguire again adding her voice to the mix (including some closing high notes which inject some additional power). Following the expansive and powerful Kickstart the Sun, the band then dial things down somewhat with the more acoustic-based A Big Balloon. Hart's acoustic guitars form a jaunty backing for Edwards' vocals, whilst some snaking bass playing from Brown adds depth. Despite the song's acoustic base, though, it manages to create a big sound - particularly as it moves along. A few different instruments are featured throughout, too. Hart plays a short sitar solo, which is not something commonly heard within the context of Cats in Space, whilst Stewart also lays down a keyboard solo - again, not a common factor in the band's sound. As such, the song adds something different to the album - whilst still containing many of the band's usual approaches to melody. Another song that does things a little differently is Smoke & Mirrors - although, like the previous song, there is still plenty of the band's trademark sound throughout. The main difference here is the approach to the background vocals - which feels very American. Despite taking influence from some American bands, Cats in Space's sound is very British at its core. The big vocal harmonies here, though, are very American-sounding - but they sound massive and easily fit in with the song's more driving rock sound. Piano once again forms the basis of the track, with its driving rhythms, whilst Hart's lengthy lead guitar showcase, which features some talkbox moments, is a bit more virtuoso in nature than usual. There are still lots of classic vocal hooks, though, and the chorus is another winner - with those big late 1970s vocal harmonies bringing it to life.

Hero is much more of a low key piece, as it is another piano ballad which essentially just features Stewart's piano playing and the emotional vocals of Edwards. Bacon wrote the lyrics, and it is says in the album's booklet that it is dedicated to someone who died very young in 1981. As such it is a heartfelt piece, and it is fitting that the vocals are very much the focus. Hart adds some additional synths and some ringing band bell melodies throughout, but they are sparsely used - with the focus instead being on the piano and Edwards' warm vocals. It is a short song, but it acts a breather before the home straight - which then kicks off with Last Dance Saloon. The song is a co-write between Hart and Wilson - so it feels like a bit of a throwback to the band's earlier albums. Wilson co-wrote much of the band's first three albums, and it is nice to see another co-write included here. Despite not being a long song, it has a very expansive sound. There are lots of big vocal hooks throughout, and there are strings added by Ian Cooper. The strings, including lots of violin hooks, make the song stand out in a big way - as there are no other songs here that utilise them in this way. The song soars as a result, but there is still plenty of the band's usual organic sound - with more piano melodies throughout and a great instrumental section which opens as a blistering Hart guitar solo and ends with dancing synths. The last 'main' song here is the lengthy Bootleg Bandoleros. At over eight minutes in length, it is the longest Cats in Space song yet - and I get the impression from interviews with Hart that it is the song here which he is the most proud of. As is to be expected, the song is quite a dynamic piece and it moves back and forth between quieter sections and those which are more hard rocking. It actually takes quite a while to get going, and the first section of the song is fairly low key. It features a lot of acoustic guitars, which Edwards sings over the top of, whilst occasional piano melodies and other musical swells join the fray. Hart has clearly enjoyed opening his box of toys here, as tubular bells, a dulcimer, and various synths are used throughout - and they all rear their heads occasionally adding something unique as the song builds. Unsurprisingly, though, the song does soon start rocking out. It never really loses its acoustic base, as it is generally still there in the mix adding depth, but the band does soon kick in in a big way - and the first proper chorus is a real moment of pomp rock goodness thanks to some driving guitars and more big vocal harmonies. Perhaps the best moment of the song for me, though, is the lengthy guitar solo section - which sees Hart and Howard trading solos back and forth in a furious and hard rocking manner. The song then continues in this way, with another reprise of the soaring chorus and a powerful closing section that sees pulsing keyboard stabs and some heroic Edwards vocals. The album then comes to a close with a reprise of the title track, with mournful harmonica from Bacon adding a different edge. It essentially just includes the song's chorus again, with a powerful, slower arrangement - which Howard then solos over, his fast-fingered playing acting as a great crescendo for the overall album. It is a great way to end things, and it is a great to see how far Cats in Space have come in a relatively short period of time. In time Kickstart the Sun may become my favourite album by the band, but I still feel like there is much to discover within it. That being said, though, I already love the album and a few of the songs here are real favourites. As such, it is a triumph from the six-piece - and I will definitely be listening to a lot over the coming months, and my opinion of it will only improve I am sure.

The album was released on 29th July 2022 via Harmony Factory. Below is the band's promotional video for Poke the Witch.

Steve Hackett - Torquay Review

It is rare these days that I go to a new town for a gig. With touring schedules in the UK generally constrained to the country's big cities, live music often takes me to many of the same places throughout the year - so much so that many of these places become extremely familiar. Occasionally, though, bands will break the monotony of the traditional gig circuit and branch out somewhat. This was once the norm, of course, as a glance at any tour poster from the 1970s or 1980s will tell you, but I am not sure that even then the Devon town of Torquay was a particular hotspot for live music. There is probably a reason for this, not least the size of the town and the distance that it is from the main road, but this did not stop me heading to Torquay last night to see the former Genesis guitarist Steve Hackett bring his latest tour to the town's Princess Theatre. I am not sure that I had ever actually been to Torquay before. I have definitely driven through it, and may have been there as a child, but I have no real memories of the town itself. In truth, though, I still do not. My impressions of the town were that it had seen better days - as is typical of many seaside resorts. The era of the Torquay summer holiday is somewhat over, and was even in decline when Fawlty Towers was wowing TV audiences in the late 1970s. That being said, though, I did not exactly see all that much of it. The car park that I used had a Wetherspoons essentially built into the side of it, and that was only a short walk from the venue itself. There may be more to Torquay than meets the eye, though, but I somehow doubt it. I cannot imagine that I will be rushing back, but this is not a travel blog so I shall move on. The Princess Theatre itself, though, was quite good. Opened in the 1960s on the waterfront, the 1,500-seat theatre is probably more used to hosting the yearly panto and the odd show from various aging light entertainers - but it was a pleasant place to take in a show. It was not too big, and even from the back of the circle where I sat the view of the stage was excellent. The sound was also crystal clear throughout, which for Hackett's multi-layered sound was a blessing. The main bar also overlooked the water, too, so the views whilst waiting for the show to start were rather nice. Moving to the show itself, Hackett's current tour is the latest in his on-going series celebrating various Genesis albums. I saw him live for the first time last year, where he played the seminal live album Seconds Out in full, but this time he turned his attention to the band's fourth studio album Foxtrot. As Foxtrot was released in 1972, it is 50 this year. The tour, then, celebrated this anniversary with a full performance of the album each night. Despite Foxtrot being a bit of a classic in the Genesis canon, many of its songs have not exactly been live staples for Hackett over the years - including on his recent tours. This run of shows was a good chance to rectify that, then, and the Torquay show fell only a few dates into the lengthy UK trek.

By the time the lights went down in the theatre at 7:45pm, the place was pretty full. It was not a sell-out, and there were a few empty seats near me at the back of the hall, but there were plenty of people packed into the room to enjoy an evening of progressive rock. The fairly compact nature of the room meant that the crowd sounded really loud, too, and the atmosphere throughout was excellent as a result. As was the case last year, the show was split into two. Foxtrot filled the second half of the show, which meant that Hackett used the first set to showcase a diverse range of material from a handful of his many solo albums. Much of this set was instrumental, but Nad Sylvan (vocals), who would feature in a big way later on, came out to sing a couple of songs throughout the first set - and Hackett himself sang one. The busy, jazzy instrumental Ace of Wands kicked the night off, though, with lots of fluid soloing from Hackett himself - whilst his excellent band warmed up around him. Hackett's band for this run of shows is the same as it was last year, and there was a palpable sense of comradery among the bunch. These guys all clearly love playing with each other, and it showed. The lengthy introduction to the gothic-tinged The Devil's Cathedral, with multi-instrumentalist Rob Townsend on saxophone and Roger King on keyboards, showcased this - before Sylvan sauntered onto the stage to perform the dramatic vocal parts. This was one of the highlights of the first set as a result, but the more low key and atmospheric Spectral Mornings also impressed with its delicate nature and cutting guitar melodies. Hacketts love of jazz and a complex arrangement was on show throughout, but there were also more upbeat numbers. The hooky Every Day proved to be a lot of fun, with Sylvan again on vocals. The song has a big chorus, which the crowd enjoyed, and the driving keyboards of King showcased the song's roots in the late 1970s. Hackett then turned up the heaviness somewhat with the stomping and hard-driving A Tower Struck Down. His riffing throughout was excellent, and Townsend once again impressed with some strong saxophone melodies. The song was closed out by a jazzy bass solo from Jonas Reingold, which allowed everyone else to catch their breath a little, before the band segued into the sultry and lounge-inspired Camino Royale. This featured Hackett on vocals, showcasing his reasonable talents a singer, whilst the band whipped up a jazzy backing. Drummer Craig Blundell impressed here with some solid grooves, and the first set then came to a close with the second half of the epic Shadow of the Hierophant. The song has been a regular in Hackett's setlists for a while, and it is easy to see why as it really allows him to cut loose with the guitar - as the song is essentially one long guitar solo. This took to the evening to its interval, which saw ice cream sellers coming out of the woodwork - which felt rather strange at a rock show.

Following half an hour so the lights went down again and King stepped up behind the keyboards to play the classic mellotron intro to Watcher of the Skies. Whilst I had enjoyed the first half, and am slowly gaining an appreciation for Hackett as a solo artist, it was the Foxtrot set that had sold me the ticket. I imagine that was the case for many in attendance, too, and I think that it is fair to say that Hackett's crowds have grown since he started placing more focus on Genesis' material. In fairness, though, the reaction of the crowd throughout the first set was very enthusiastic, but the atmosphere did heighten during the second set. The whole band were on fire again, but it was during this set that Sylvan really shone. In Sylvan, Hackett has found the perfect singer. He excels at singing the old Genesis material - and has proved over the years that he is equally comfortable covering the songs of both Peter Gabriel and Phil Collins. He manages to put his own spin on them, too, and his quiet thespianism is very much a big part of what makes Hackett's shows so memorable for me. He indulged a little during Watcher of the Skies, though, standing at the back of the stage with a telescope and a long coat - before effortlessly belting out the keyboard-heavy rocker. With the exception of the set's closing track, none of the other Foxtrot cuts were played on last year's tour. This meant that rarities like the piano-led Time Table were given rare airings. Time Table is an underrated Genesis track in my opinion, and it was great hearing it performed live - with King as consummate as ever behind his bank of keyboards. The energy levels were then raised by the bouncy Get 'em Out by Friday - which is possibly the most hard-rocking moment on Foxtrot. It was another showcase for King, thanks to some busy keyboard riffing, but Hackett also shone due to the song needing plenty of guitar weight. It was one that the crowd really enjoyed, too, and it received one of the largest cheers of the night. Up next was the only song on Foxtrot which has never done a huge amount for me: Can-Utility and the Coastliners. I have always found the song to be on the strange side, and seeing it live did not really change my mind. It was sung perfectly by Sylvan, though, and I am sure that plenty of people in attendance enjoyed hearing it get a rare outing. A brief moment of respite followed, as Hackett sat down with his classical guitar for the brief instrumental piece Horizons - which soon transitioned into the set's showpiece: Supper's Ready. Supper's Ready will always be a highlight of any Hackett gig, and the epic-length song was even more impressive this time than it was last year - largely as I am much more familiar with it now. The multi-part song impressed on many levels. Sylvan again impressed, especially during the vaudevillian section that follows the infamous 'A flower?' exclamation, and Townsend had lots of moments to showcase his melodic flute playing. It was a fantastic way to bring the main set to a close, and the band received a standing ovation as they left the stage. There was time for a couple more, though, and a huge cheer erupted when King started playing the intro to Firth of Fifth - which of course is centred around Hackett's huge guitar solo. The song is always a show-stopper live, and it brought the house down. The band then rounded out the evening with a medley of a couple of Hackett pieces - which ended with a snippet of Genesis' Los Endos. This jazzy instrumental closer brought the set full circle, and it capped off what had been a lengthy and enjoyable night of prog. The setlist was:

Ace of Wands

The Devil's Cathedral

Spectral Mornings

Every Day

A Tower Struck Down

Camino Royale

Shadow of the Hierophant

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Watcher of the Skies [Genesis material]

Time Table [Genesis material]

Get 'em Out by Friday [Genesis material]

Can-Utility and the Coastliners [Genesis material]

Horizons [Genesis material]

Supper's Ready [Genesis material]

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Firth of Fifth [Genesis material]

Myopia/Slogans/Los Endos [Genesis material]

If you had told me a few years ago that I would be seeing Hackett live twice within the space of a year in 2021 and 2022 I would never have believed you. I have only really been a proper Genesis fan for a couple of years, but I have been enjoying the journey - and the two Hackett shows that I have now been to have been a big part of that. I would not be surprised to see him back out next year with a new show and another Genesis album being featured, but for now I will continue to explore the band's catalogue - as well as expand my small collection of Hackett's solo albums. There is a lot of music for me to catch up on, but I am sure the journey will be worth it.