10) The Hayley Griffiths Band - Melanie
Some may see this as cheating as Melanie includes two old songs which Hayley Griffiths re-did with her current band - but they sound so different from their early incarnations that they feel like new songs. This is the reason I have put the album at the bottom of the list, though, despite having listened to it an awful lot in 2023 - but to be included at all is an achievement. Following the Secrets of Angels era of Karnataka coming to an end in 2017, Griffiths launched her current band in 2018 - and finally released her first rock solo album back in January. Those who liked the bombast of Secrets of Angels will find plenty more of that throughout Melanie, but there is less of a progressive and symphonic influence - with a more straight ahead and theatrical feel on show instead. Griffiths utilises every bit of her impressive vocal range here and the hooky songs could well represent the best of her as a rock singer to date. Her band is just as impressive, too, with two Karnataka alumni joining her (drummer Jimmy Pallagrosi also produced the album) - but perhaps the stand-out musician here is guitarist Mathieu Spaeter, whose tough riffing and fluid solos act as the perfect foil for Griffiths' exuberant vocal display. The future looks bright for the band and I hope that we hear more from this configuration going forward.
Listen to: Broken Lullaby, Melanie & Dust to Gold
9) The Gaslight Anthem - History Books
It can sometimes be hard for a band to return from a hiatus and deliver and album which capitalises on the excitement of an expectant fanbase - but I think that The Gaslight Anthem managed to do so with their sixth album. Their first album since a break and 2014's Get Hurt, History Books is easily the band's most mature release yet. Whilst not as raucous and punk-inspired as the albums which made the band famous, the heartland rock spirit is still alive and well here - with perhaps a larger dose of melancholy than usual. Frontman Brian Fallon brought some of the elements featured on his recent solo albums to this latest band effort - so History Books sounds a bit like the continuation of two discographies. Some may have wanted the band to rock a bit harder here, but I really like the more sombre approach taken. There is quite a bit of variety throughout the album as a result and it has really dominated my listening over the past couple of months. A couple of harder rock pieces show that the band can still turn it up when required and there is lots of tasteful lead guitar playing throughout from Alex Rosamilia, too, which further helps to give the album a real lift.
Listen to: History Books, Positive Charge & Michigan, 1975
8) Uriah Heep - Chaos & Colour
Another release from the early part of the year, Uriah Heep continue to go from strength to strength on Chaos & Colour. Following their ten year hiatus from recording, which came to an end with 2008's Wake the Sleeper, everything Uriah Heep have touched has turned to gold. Chaos & Colour is the fifth album in this latest run of releases and it picks up nicely where 2018's Living the Dream left off. Mixing the band's trademark Hammond-driven hard rock with modern production techniques and a heaviness which can border on old-school metal at times, Uriah Heep are easily the most vital of any of the first wave of genuine hard rock acts still putting out new albums. The big difference here, though, is that drummer Russell Gilbrook has stepped up as a songwriter. He has been in the band since 2008 and had never written for the band before - but here he wrote four songs along with his writing partner Simon Pinto. His tracks are all classic Uriah Heep-sounding efforts, too, so I am looking forward to hearing more from him on future albums. What also helps this album to stand out somewhat is the fact that it sounds more progressive than the band's other recent works. There are a few more longer pieces here and those songs really stretch out - with plenty of soloing from both Mick Box and Phil Lanzon. Long-time frontman Bernie Shaw sounds as good as ever vocally, too, and Chaos & Colour is another winner from the veteran British band.
Listen to: Save Me Tonight, Hail the Sunrise & Age of Changes
7) Rival Sons - Darkfighter & Lightbringer
This entry is very much a cheat - but it is my blog so I can bend the rules. I hate to include Rival Sons' two 2023 releases in one entry, essentially making this list a Top 11 - but the two albums are clearly companion pieces and are supposed to be enjoyed in the context of the other. As such, it seems fitting to put them together here. Despite having been casually into Rival Sons for a few years, 2023 was the year I finally grew to love them. I saw them live for the first time on my own terms and I listened to both of these two albums a lot. I am glad that the band decided not to release them as a double album or as one long album - as the two parts feel distinct enough to sit as complete albums but they share a number of themes and sounds which make them perfect bedfellows. Despite the short lengths of both albums, too, the songs here feel somewhat more progressive than has often been typical for the band. There are less anthemic hard rock pieces here, with the songwriting being pretty varied. There are some hard rocking moments, but generally these songs are much more layered, emotional, and atmospheric. The band's talents shine, though, with frontman Jay Buchanan showing again why he should be considered one of the very best in rock today; and guitarist Scott Holiday is one of blues' most distinctive players with his ever-present slide licks and his amp-destroying tone.
Listen to: Mirrors, Mercy & Mosaic
6) Delain - Dark Waters
Not all bands could survive losing four-fifths of their line-up, including their much-loved frontwoman, but Delain managed to bounce back from 2021's big split with a strong album in Dark Waters and a new line-up. Founding keyboardist and songwriter Martijn Westerholt is the only face left from the last album, but with a former guitarist and drummer back on board this current line-up of the band links back to the past nicely - whilst new frontwoman Diana Leah really sounds the part. The album's critics point out that it sounds quite by-the-numbers, which is a fair point to make, but that is what I expected from the band coming out of the gate with a drastically new line-up. Dark Waters is clearly an album made to say: 'Look, we can still do it!'; and I think that it excels in that regard. I do hope that the current line-up does give itself a bit more of an identity going forward, which I imagine will happen when Leah gets more involved with the songwriting. I get the impression that much of this album was written before the current line-up came together, so I do expect things to diversify in the future. I listened to this album a lot in 2023, though, despite its familiarity - as it contains plenty of hooky songs and all of the poppy symphonic metal flourishes that helped to make Delain one of the best examples of the genre.
Listen to: The Quest and the Curse, Queen of Shadow & Invictus
5) Extreme - Six
It is always hard to know what to expect from a band who have not released a new album for quite a while. Before 2023, Extreme had not released an album since 2008 - and that album, Saudades de Rock, has never really done all that much for me. I was hoping that Six would be more like it, though, and thankfully it was - with the album delivering a great mix of funky hard rock alongside a number of more heartfelt ballads. Extreme have always defied genre tags and Six continues to do so - but the sound throughout is fundamentally theirs. Why Gary Cherone is not more widely heralded as both a singer and a frontman continues to confuse me; and I have often said that Nuno Bettencourt is the best guitarist that I have ever seen live. Reactions to Bettencourt's solo is Rise dominated the rock press for a while earlier in the year, but he also came into his own as a vocalist here, too, duetting with Cherone on some of the album's slower moments. Despite the variety, though, Extreme's core hard rocking sound dominates - and Six is easily my favourite thing that Extreme have done since 1992's seminal III Sides to Every Story.
Listen to: Rise, #Rebel & Other Side of the Rainbow
4) Sylosis - A Sign of Things to Come
Perhaps the best news to come out of 2023 was the fact that the Reading-based metal band Sylosis are now Josh Middleton's priority again. Sylosis were a real favourite of mine throughout the first half of the 2010s, but they spent the second half largely inactive - and it looked as if they would never return. 2020 saw the release of Cycle of Suffering, which was received with plenty of excitement, but the pandemic essentially scuppered any plans that the band may have had to support it. With Middleton leaving his, likely relatively comfortable, gig with Architects, too, I have to assume that he really is fired up about Sylosis again - and A Sign of Things to Come finds the band leaner and meaner than ever. Whilst the album does lack some of the progressive touches which made the band stand out initially, it is clearly one that aims for greater things audience-wise. In truth, Sylosis' albums have gradually been reining in the progressive tendencies for some time now so A Sign of Things to Come feels like the next logical step rather than a drastic shift in style. There are still plenty of knotty riffs and interesting arrangements - but what stands out the most is the sheer amount of hooks here - both vocally and from the guitars. It is an album written with the stage in mind and I really hope that it launches the band to new heights.
Listen to: Deadwood, A Sign of Things to Come & Descent
3) Kamelot - The Awakening
I do not dislike any of Kamelot's albums, but were I to rank them I imagine that 2018's The Shadow Theory would find itself somewhere near the bottom. Despite a handful of standout tracks it felt less memorable than those which preceded it - I so was of the view that the band needed so shake things up on the follow up. Whilst not exactly that, The Awakening represents the current incarnation of the band much better than The Shadow Theory in my opinion. Sound-wise it sticks closely to the band's dense symphonic power metal template, but the songwriting feels fresher throughout. Frontman Tommy Karevik always delivers vocally, but here he seems more focused on delivering strong melodies than trying to set a moody tone, whilst the rest of the band up the levels of bombast again. Guitarist Thomas Youngblood returns to his more lead-based approach of yesteryear, opening many of the songs with hooky melodies rather than the gothic riffing of the last album, and the keyboards from Oliver Palotai are bright and full of character. I still think that 2012's Silverthorn is the best effort of the Karevik-era so far, but The Awakening is currently giving 2015's Haven a serious battle for second place - and I hope that 2024 sees the band return to the UK.
Listen to: Opus of the Night (Ghost Requiem), Bloodmoon & The Looking Glass
2) VV - Neon Noir
This pick is based purely on nostalgia, but I played Neon Noir, the debut solo album from former HIM leader Ville Valo, so many times in 2023 that I had to include it here. HIM were a favourite during my teenage years and they acted as a gateway to many heavier and more gothic things. I sadly never got to see the band live before they split up in 2017 so it was great to see Valo last year supporting Neon Noir. He launched his solo career with a three-track EP in 2020, but 2023 saw him return to the scene in a big way with the excellent Neon Noir and an extensive world tour. Often musicians want their solo albums to be different from the band with which they made their name - but Neon Noir is extremely familiar. If it had said HIM on the cover I do not think that anyone would have questioned it - and the album contains 12 songs of the poppy, gothic sound with which HIM rose to stardom in the mid-2000s. It is perhaps not as riffy as some of HIM's best work, but the overall vibe and the melodic approach is extremely similar - with Valo's rich, crooning vocals given even more space to breathe than ever. He sounds fantastic throughout and he also performed all of the album's instruments - revealing himself to be an excellent multi-instrumentalist, too. He has also hinted that the VV-era of his career will come to an end after a few more shows in 2024 - so, sadly, Neon Noir may end up being something of a one-off.
Listen to: Echolocate Your Love, Neon Noir & Vertigo Eyes
1) Karnataka - Requiem for a Dream
I try not to just put the new album from whichever UK-based prog band happened to have released one at the top of each list, but I listened to Karnataka's sixth album so much in 2023, despite its lengthy runtime, that not letting it occupy the top spot would not have felt right. I usually find Karnataka's albums to hit me pretty instantly, despite the longer songs, but this one took quite a while to grow. It is certainly not as bombastic as the band's other more recent albums and at times it feels like a real hark back to the early days - with a more atmospheric sound. There is less of a hard rock approach here, too, with big guitar moments taking a bit of a step back - save for a few excellent solos from new face Luke Machin. Perhaps the more understated arrangements stemmed from the fact that much of the album came from founder Ian Jones and new frontwoman Sertari. Requiem for a Dream is less of a 'band' effort than some of the albums of the past, with Jones responsible for much of what is heard outside of the main guitar moments and the drums. I imagine that this album may not have connected with all, especially those who wanted something a bit more bombastic and harder rocking in the vein of 2015's Secrets of Angels, but those who persevered will understand what a lush and emotional album Requiem for a Dream is - and for me it is a welcome return to some sounds which the band have not toyed with for a while.
Listen to: Sacrifice, The Night's Dance & Requiem for a Dream
Whilst the above 11 (sorry) albums make up some of 2023's best moments, as I alluded to earlier there were many other albums which could have found a home in the list. There are quite a few albums which, in reality, are just as good as some of those in the lower half of the list, so I tend to like to highlight a few other 'honourable mentions' which fell just short. I was really impressed with Dokken's Heaven Comes Down which was released in October. The band had not released an album since 2012, and Don Dokken's voice is famously not in good shape. I really liked the album, though. The vocals were surprisingly good throughout, but it was Jon Levin's guitar playing that really made the songs tick. If it ends up being the band's final album then it will be a good one to bow out on. I also gave Metallica's 72 Seasons quite a bit of love during the summer months. It is almost impossible to have a sensible conversation about Metallica these days, and I honestly believe that nothing the band could release at this point would please some, but I liked much of 2016's Hardwired...to Self-Destruct and I like much of 72 Seasons, too. It contains some of Kirk Hammett's best guitar solos in a while, in my opinion, and James Hetfield will always be a riff machine. Finally, I would like to highlight Seven by Winger - their first album since 2014. I have not listened to it as much as some of those other albums here, hence why it missed out, but it remains an impressive piece of work. Progressive-tinged songs sit alongside melodic rock anthems to create another excellent and diverse album from the band - and Reb Beach is on fire throughout from a guitar perspective. Moving onto gigs, I will now discuss my favourite five shows of the year. Despite splitting gigs into 'big' and 'small' categories previously, I have decided to once again stick with just picking five overall as I have done in my last two round ups. It is easier overall and, despite getting to many other excellent shows, the below are a good cross-section of the year.
The second show of the year ended up being one of the best, despite a severely-delayed train journey home the following day, as I got to see my biggest discovery of 2022, Young Gun Silver Fox, live for the first time. Few modern bands are out there playing yacht rock, and even fewer are doing with as much style as Young Gun Silver Fox - but the duo now have four albums of excellent music behind them and are expanding their live activities. I also saw the band again in September, which was arguably a better show due to the larger venue and an expanded horn section, but sometimes the first time is the best - and it was a real joy hearing many of the band's best songs live for the first time. Despite being joined by extra musicians live, the number of musicians on stage at a Young Gun Silver Fox show is still less than many of those old yacht rock shows would have involved - yet they manage to re-create the band's layered sound so well. The approach to vocal harmonies in particular is impressive, and the show was one of those where everyone in attendance was a huge fan - so there was a lot of singing from the off and an excellent atmosphere.
It is always good seeing a band in a smaller venue than is typical for them. Modern southern rockers Black Stone Cherry gave their UK fans that opportunity in 2023 with a tour consisting of small rooms - with the band revisiting some of the first venues they ever headlined in the UK to support the release of Screamin' at the Sky. With Black Stone Cherry generally able to fill large theatres and even arenas with the help of a strong bill, these tiny club shows sold out extremely quickly - and The Fleece was packed during the band's no-nonsense two hour set. Mixing fan favourites, songs from the new album, and a handful of deep cuts, the band really delivered. I have said here that I do not listen to the band anywhere near as much I used to, but the show really reminded me why I got into them all those years ago. It was my fourth time seeing the band, and it was easily the best both performance and sound wise. The Fleece always leads to a good night and the band's loud riffing filled the venue from the off. The crowd were really up for the show, too, with their singing actually drowning out the band on occasion. It was one of those nights where everything fell into place and it was just a good, old-fashioned night of rock and roll.
It seems strange to me that, considering how many concerts I have been to, I have only seen Iron Maiden live twice. I may not be obsessed with them in a way which some metalheads are, but they are nevertheless a band I like a lot - but I have passed on quite a few of their tours for various reasons. I saw them for the first time in 2017 and for the second time last year - and this latest show in Nottingham was the better of the two in my opinion. Mixing some of the material from 2021's Senjutsu and 1986's Somewhere in Time made for an interesting setlist which ended up including a number of songs not played live prior to the tour - as well as some not played live for a number of years. Iron Maiden fans can be critical of the band's setlists sometimes being on the safe side, but I do not think that this complaint can be made this time - with tracks like Caught Somewhere in Time and Stranger in a Strange Land returning after lengthy absences and Alexander the Great finally making it to the stage. Throw in some of the stronger new cuts and a performance of a personal favourite in The Prisoner - and I think that it is fair to say that the band treated their fans in a big way.
It looked unlikely that The Almighty would ever reunite. With Ricky Warwick busy with Black Star Riders and a solo career, combined with the fact that only fairly recently he said that he had not spoken to some of the other band members for years, it seemed that their fans were out of luck. That was, though, until earlier in 2023 when they announced three reunion shows. All three ended up selling out, so there was still clearly a lot of love for the band - and the rowdy atmosphere within the O2 Forum in Kentish Town as soon as the band kicked off their set with Resurrection Mutha signalled that the night was going to be a special one. The band barely paused for breath for the next two hours, either, and delivered a set full of fan favourites which had not been heard live since the late 2000s. They played everything that the capacity crowd realistically wanted to hear and each song was greeted as warmly as the one before it - culminating in a huge sing-a-long to Wild & Wonderful. I had been a casual fan for a number of years, but this show made me a true fan. The Almighty are a band made for the stage so it is great that they returned - and they have already announced similar three-show runs for later this year and in 2025 also. I, unsurprisingly, already have tickets for both years.
I have often said that Bruce Springsteen's Wembley Stadium show in 2016 is the best concert that I have been to. There are a couple of others which could be considered such, too, but Springsteen is always in contention - so I was really pleased to get to see him for the second time in 2023. Despite being in his 70s now, he still rocked Villa Park in Birmingham for three hours - and played a setlist which was more curated than his usual more random approach. This meant that there were less surprises, but the show felt nicely structured - and included a great mix of stuff, from bona fide classics to lesser-played favourites. I loved hearing a few songs from 2020's excellent Letter to You live and the Birmingham crowd was also treated to a tour debut of The River. Perhaps surprisingly, though, the overall highlight of the set for me was a lengthy and rousing version of Kitty's Back. With a horn section backing The E Street Band on this tour, parts of the set took on an R&B flavour - and it was Kitty's Back which perhaps benefitted from this treatment the most, with Charlie Giordano also delivering an excellent organ solo. Other highlights included a raucous Mary's Place, Nils Lofgren's solo during Because the Night, and a majestic rendition of Thunder Road to close out the main set - before a hit-packed encore had everyone in the stadium on their feet. I thought it might be the last time that I got to see him live, but with tickets secured for Cardiff in May there is at least one more night with The Boss still to be had.
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