Cheap Trick's 'All Washed Up' - Album Review

In some ways, it seems strange that Illinois' Cheap Trick are not more well known. Clearly the band remain popular in their native America, and they have always been massive in Japan, as the seminal live album Cheap Trick at Budokan from 1978 can attest, whereas elsewhere they are known but never seem to be world beaters. Not everything in the band's lengthy catalogue is top-drawer, admittedly, but their classic era singles remain as hooky as everything - and given their love and, at times, similarity to The Beatles, it is strange that they did not achieve more fame elsewhere, especially here in the UK. In fairness, their peak years coincided with the explosive UK punk scene - whereas rockers were soon to be tempted down heavier paths with the NWOBHM taking things to the next level only a couple of years later. Perhaps Cheap Trick's sleek, well-crafted pop rock was just not what the British public wanted at the time. After all, The Beatles had been and gone by this point - and bands like The Clash were now doing the business, whilst some of the 1970s hard rock acts, such as UFO and Thin Lizzy, peaked around the same time. I Want You to Want Me is the band's only single to crack the Top 40 here, and that was back in 1979, whereas the aforementioned Cheap Trick at Budokan also made it into the Top 40 of the album charts in the same year. Other singles and albums charted, but little else came close to the fabled Top 40 - and the opportunity to appear on Top of the Pops or chart rundowns on the radio. The band had their brief moment in the sun here, then, but their success was largely elsewhere - and the only time I have seen them live was when they opened for Def Leppard back in 2018. A brief headline tour which was scheduled more recently initially fell foul of the pandemic before then being cancelled for other reasons - as was another lengthy tour with Journey which was supposed to take place last year. It seems, too, that the band are slowly winding things down - so I would imagine that the UK has seen the last of the band in terms of live shows. This is a shame, as I have slowly worked my way through the band's catalogue over the past couple of years and found plenty to like. Their early work remains their best - but a lot of their poppier 1980s material is still very enjoyable, and many of their newer albums also contain plenty to recommend. They have remained relatively prolific, generally releasing something new every four or five years. The band's last album, In Another World (which I reviewed here) came back in 2021 - a couple of months before lockdown restrictions here in the UK started to lift. A positive and summery album, In Another World felt quite apt at the time. For those of us who were keen for the pandemic to end, which sadly was fewer than I would have liked it to be, even in April 2021 when the album dropped there seemed to be better days on the horizon - and, indeed, that summer saw the country essentially return to normal, despite a few subsequent scares. I listened to In Another World quite a lot around that time, then, and it very much felt apt given the situation. Four year on, though, and Cheap Trick have returned with their latest album All Washed Up - which may well end up being their last if they are indeed winding down. In contrast to the pop hooks of the previous album, All Washed Up feels a bit heavier overall. It is a bit riffier and there is a tougher, punk edge at times - whilst the band's core pop hooks and garage rock vibes remain. Cheap Trick have made albums like this before, including many of their more recent efforts - with the heavier sound suiting the aged voice of frontman Robin Zander. He still sounds great, but his voice is certainly grittier now than it used to be.

The band's core trio of founding members: Robin, guitarist Rick Nielsen, and bassist Tom Petersson; returns here as always - with two of their sons: guitarist Robin Taylor Zander and drummer Daxx Nielsen; rounding out the line-up. There are 11 songs here and the whole thing is done and dusted in under 40 minutes - making the album a bite-size and enjoyable listen, in-keeping with many of the band's other releases. The up-tempo title track kicks things off, which opens with a slashing riff from Rick - and the trademark Cheap Trick sound is evident from the off. The riff, which resurfaces throughout the song, is hooky and full of energy - whilst the guitar tone is suitably gritty to allow that garage rock feel to shine through. The verses are a bit more laid back, with chiming clean guitar melodies and Petersson's propelling bass playing - with the heavier guitars cutting in occasionally. They back the sing-a-long chorus, though, which features plenty of hooky vocals from Robin - his melodies as melodic as ever despite the tougher backing. There is a good mix of hard rock and melodic pop here, with the hypnotic riff and the repetitive vocal melodies during the chorus in particular likely to stick in the brain for a long period of time. All Wrong Long Gone is less aggressive, with the band pulling the pace back to something more mid-paced - and Rick's guitars taking on less of a gritty tone. A fairly slow-burning, yet melodic, guitar riff drives this one - whilst Daxx lays down a subtle groove on the drums. The song has a bit more space to breathe as a result - and Robin's vocals very much shine through. During the verses in particular his voice cuts through the slow moving riff - his mix of grit and melody a big draw. The chorus feels a bit more full-on, though, following a bass-led pre-chorus section, with a bigger guitar presence, making use of both Rick and Robin Taylor's playing for layering, whilst subtle synths and vocal harmonies add some extra melodies. A bluesy guitar solo later adds further interest. The Riff That Won't Quit returns to the harder rock sound of the opening track, with a jovial kick-off riff that sets the tone for the rest of the song. This song, like many on this album, is a short track - and it very much gets in and gets out. It is a punchy, poppy rocker with the great opening riff repeating regularly throughout - whilst Robin's somewhat punky vocal delivery ensures an in-your-face attitude, particularly during the snappy chorus. Given the short length of the song, the later guitar solo is surprisingly lengthy - with Rick going for a noisier approach to contrast with the snappier riffing elsewhere. Bet It All slows the pace, going for a bluesier groove from the off. Rick's main riff has a slightly doomy vibe, which feels heavier than is typical for the band, but this just showcases that the blues can be heavy - it is how Black Sabbath started out after all. This riff and the shuffle from the rhythm section grounds the whole song, whilst Robin sings in a slower and deeper manner than usual - with shriller harmony vocals adding some additional layers. A brief chorus showcases those typical Cheap Trick hooks, where pop meets rock, whilst the instrumental section mixes bluesy guitar soloing with a more riff-led moment. The heavier vibe is welcome, as the heaviness is more from a classic rock and blues perspective than the punkier vibes heard elsewhere.

The Best Thing shakes things up somewhat, going for a much more shimmering pop vibe. The band's love of The Beatles is very much on show here - with Robin's vocals much cleaner and more overtly melodic, whilst airy synths are utilised in the background to add depth. There is no real riffing here, with the guitar playing this time much more atmospheric in nature. Layers of clean guitar melodies and the occasional tougher chord form the backing for Robin's vocals, alongside the synths, whilst the main punch comes from the rhythm section. Cheap Trick will often ensure that there are a few songs like this on each album, and they always do this slightly more rocked up take on dreamy Beatles-esque pop well. The song is also one of the longer cuts here, so the atmospheric sound is allowed to stretch out a bit more. Twelve Gates is somewhat similar, but with more of a hard rock injection. A similar pace is retained from the previous song, with similar synths in the background, but this time the guitars feel a little more intense. The backing guitars feel a little tougher, despite the patterns being somewhat similar, whilst the drums are much more percussive to allow for a punchier feel - with plenty of tom work during the main verses. Robin still sings in his more melodic manner, though, despite the slight increase in toughness - which means that more big Beatles-esque melodies are present throughout. As such, the song is very easy on the ear. The melodies are sweet and airy throughout - whilst even the later guitar solo, which is quite effects-heavy in sound, has something of a strange floaty feel; despite the tougher grounding of the rhythm section this time. Throw in the synths taking more of a leading role at times, with some pulsing melodies, and the song continues the more atmospheric shake-up started with the previous one. Bad Blood ups the pace somewhat again, but there are still moments of atmosphere that creep through. The toughness has slowly crept up during the past few songs - and this track feels like the best representative of the band's two sides in one. The guitars are crunchy at times, but generally the scope is poppy and cinematic - with a swing from the rhythm section expanding the overall scope and plenty more synths. Occasional more knotty guitar riffs do add some moments of harder rock, and these allow Robin to add a grittier edge to his vocals, but largely this another quite mid-paced and poppy number - with a easy on the ear chorus and more atmospherics. A very melodic guitar solo is also included. It is no surprise that this run of songs in the middle of the album are some of the longer cuts here - and they allow the band to stretch out somewhat and really present this poppy and atmospheric sound as a contrast to their punchier, rockier songs elsewhere. Dancin' with the Band returns to the harder rock sound of the early part of the album. The guitars immediately feel tougher here, and there is a strong groove throughout which is much more hard rock in nature than the songs which immediately preceded it. The atmospheric synths which came before are largely absent this time, with the weight of the guitars, bass, and drums carrying everything - whilst Robin's vocals feel grittier and more hard rocking this time, despite the chorus still being pretty poppy overall. It feels like an old-school Cheap Trick classic from the 1970s - with a good mix of punk grit and pop rock melody nicely bringing everything to life.

Love Gone slows the pace down again somewhat, although the overall arrangement is not as floaty as some of the poppy songs which came before. The mix of vibes is similar to Bad Blood overall, with some toughness coming from the chugging guitars throughout, alongside some percussive drumming, whilst atmosphere is once again provided by some synths - and Robin's vocals feel much poppier overall and less gritty. There are strong Beatles vibes throughout the track again as a result, whilst a slide guitar solo is included - which is something a bit different for the band. The slow-burning slide solo helps to add to the song's somewhat melancholic vibe, despite the melodies being very hooky, and the song is another which mixes the band's core sides and sounds together nicely. A Long Way to Worcester opens with some chiming guitar melodies, almost country-esque in tone, and percussive drumming - over which Robin starts to sing. Washes of keyboards and some well-placed wordless vocal harmonies add depth, but the song does not feel especially poppy or floaty compared to the songs in the album's middle. There is less of a Beatles feel this time, with the guitars overall feeling decidedly more American thanks to the country twang and there is a darker overall tone thanks to the bass, which is high in the mix, and Robin's more emotive vocals. There is little of the band's carefree side here, and this track feels quite a bit more serious overall - with a much more layered sound and plenty of atmospheric depth. The guitar solo is busier and more hard rock in nature, too. Rick's tone during it is cutting and slashing, meaning that the punky, bluesy melodies cut through the dense piece nicely - and the song overall has a strong cinematic feel thanks to the overall arrangement, Robin's wistful vocal delivery, and these more slashing harder rock moments which cut through on occasion. Following this lengthier, more serious piece; the album then comes to a close with the short burst of energy that is Wham Boom Bang. It opens with some jaunty acoustic guitar melodies over which Robin sings some very affected 1960s-esque melodies - whilst the song grows in stature around this beat combo-esque vibe. Drums and bass are added to the mix as the track progresses, whilst the later chorus is percussive and memorable thanks to some call-and-response melodies between Robin's voice and Rick's guitar. The song feels like a deliberate throwback to the 1960s, with later keyboard melodies joining in which feel very dated, but this works in the context of the album - with the song feeling like a fun closing number in the context of an album which has moved back and forth between tougher and more atmospheric sounds. Overall, for me, All Washed Up is another strong modern album from Cheap Trick. It does not really do anything new that we have not heard from the band at this point, but the overall vibe is positive despite some more melancholic moments - and I like the good mix of heavier moments and poppier tunes which allow for quite a bit of variety despite the album being quite short. Nothing ever outstays its welcome, and the band show here that they remain masters of their craft when it comes to garage rock and pop songwriting. Washed up Cheap Trick certainly are not, and if they are to wind up soon then they will have gone out on a high with this album.

The album was released on 14th November 2025 via BMG Rights Management (US) LLC. Below is the band's promotional video for The Riff That Won't Quit.

Katatonia - Bristol Review

There is not much of 2025 left. It does not seem like that long ago that I was heading up to Bristol for the first time this year to catch The Halo Effect at The Fleece - but this past Monday saw my last trip to Bristol in 2025. Always a great city for gigs, I have been to Bristol quite a few times this year as is tradition - and I already have a few nights out planned there for next year. Whilst 2025 still contains a couple more gigs, with a long weekend away in Wolverhampton planned just before Christmas - the year feels like it is winding to a close. It will not be long before I am writing up my Albums of the Year list and rounding out the year blog-wise - but there are still a few more reviews to come before then, both of gigs and a last few albums I am hoping to get to time allowing. My last trip to Bristol of the year, then, was to catch a band live for the first time - with Sweden's gothic/doom/progressive metal mainstays Katatonia the reason for my train trip. Fellow Swedes Evergrey being on the bill helped, and I may not have gone to see Katatonia without their presence, but I needed an excuse to check out Katatonia properly and this December gig seemed like a good opportunity to do so. I do not have much of a history with Katatonia. I have had a copy of 2012's Dead End Kings for many years, but I only started to listen to the band properly earlier this year - and I have since picked up and have heard everything from 2006's The Great Cold Distance onwards, plus reviewing latest effort Nightmares as Extensions of the Waking State (which can be read here) back in July. In truth, I am still not really sure what I think of Katatonia - both having explored their catalogue somewhat and now having seen them live. I quite like their core sound, and it reminds me at times of bands I like very much like Anathema and Opeth, but album to album things can get very samey. I get the impression that the band's earlier work is much heavier, so is likely quite different, but in more recent years a core sound has very much emerged - which is certainly enjoyable but does somewhat fatigue me after a while. Katatonia are very much a mood band. There have been times that I have listened to one of the band's albums and been swept away by it - only for the same album to leave me a bit cold another time. They are very much a band that I need to be in the mood for, then, but I have enjoyed spending some more time with them this year. Occasionally I book a ticket for a gig which, at the time, is far in the future and not surrounded by anything else as doing so seems like a good opportunity to get into a band - with plenty of time to digest the catalogue and properly become a fan. Sometimes this works and sometimes it does not - with this example falling somewhere in the middle. I certainly did not listen to as much Katatonia this year as I should have done - but nevertheless I am much more familiar with the band than I was. I was feeling negative about the whole experience on the day of the gig, too. I was tired after nights in Nottingham and Torquay beforehand - plus I was worried that inclement weather would disrupt my journeys to and from Bristol. Thankfully, I got to Bristol on Monday and back home on Tuesday without any real issue - but I nevertheless was concerned during the gig itself about the travel arrangements the next day as the weather reports just kept getting worse.

This whole intro seems quite negative, so I imagine people will be assuming that I did not enjoy the gig - but that would not be true. Despite not being as versed in Katatonia's catalogue as I should be, and my overthinking regarding getting home, I still enjoyed my night at the Electric Bristol - which attracted a healthy crowd. Two support acts came before Katatonia, though, with the Italian progressive/alternative metal Klogr opening the night. I knew little about the band before they hit the stage, but their riffy and somewhat tech metal-esque sound was enjoyable. Fronted by Gabriele Rustichelli, and his impressive beard, Klogr played a fairly straight ahead brand of riffy progressive metal that was very much influenced by groove and tech metal. The riffs were not as angular or as dry as pure tech metal, but the band's sound was very much riff-based - with traditional lead guitar melodies largely absent, apart from a few shredded solos from Rustichelli. Atmospheric clean guitar melodies and textures were often used instead to add an extra dynamic and take attention away from the big riffs - whilst prominent basslines and bass melodies were also common. Despite having quite a simple sound on the surface, then, there was actually quite a bit going on - with the two guitars and the bass all generally doing something a bit different whilst the drums went back and forth between faster, punkier beats and groovy patterns. Rustichelli's voice was strong, too, adding some grit to the overall sound - whilst still managing to throw in a few hooky choruses. All of the bands on the bill are sometimes labelled as progressive metal, despite having other influences, and all are on the simpler side in terms of song structure and intricacy - which made the pairing work quite well. Klogr are never going to blow anyone away with their technicality, but their grooves were massive and the overall atmosphere and texturing of their sound certainly felt progressive - and the growing crowd seemed to have a good time, forming quite a queue at the merch stall after the band's set.

After only 20 or so minutes it was time for Evergrey - easily my favourite of the three bands on the bill in general and likely the main reason I bought a ticket. I have seen Evergrey live a number of times, as a support act, at a festival, and as a headline act - with my last show of theirs also coming in Bristol back in 2022 when they headlined the Thekla. For whatever reason, this latest Evergrey set felt a bit less powerful than others I had seen - but for the next 45 or so minutes the band still showcased their emotive core sound nicely, with frontman Tom Englund sounding a rich as ever. The band all seemed quite cramped towards the front of the stage, which likely did not help, and they currently have a make-shift line-up - with Collibus and Scar Symmetry guitarist Stephen Platt filling in for Henrik Danhage. Drummer Simen Sandnes is still quite new to the band, too, so this line-up is still likely finding its feet - perhaps leading to the set not being as memorable as previous ones. That being said, the seven-song setlist was still a good representation of the band's last few albums. The lengthy A Silent Arc kicked things off, with its tech metal riffing and cold atmosphere - before the more epic and endlessly melodic King of Errors followed. This song generally closes the band's shows, so it felt strange hearing it early in the set - but it woke a few from their slumbers and there were quite a few around me singing along. These first two songs have been setlist staples for a while now, with the following two also following suit. The cold, sweeping Distance, with plenty of atmospherics from Rikard Zander (keyboards/vocals), always feels at home when played live - whilst the warmer Where August Mourn showcased the band's denser, riffier sound. The final three songs were all new to me live. I had not seen the band live since their last album came out - so it was good to see two songs from it included in the set. Cold Dreams of course features Katatonia frontman Jonas Renkse - but he did not join Evergrey on the stage, with his vocals instead just played over the PA. This meant that Englund was just stood around sometimes whilst these vocals were being played, which was a bit strange, but the more epic and keyboard-heavy Falling from the Sun showcased some more hooks - something which the band can really pull out when they want to. There were clearly quite a few Evergrey fans in the crowd and the more melodic songs featured quite a bit of singing from those around me - and in a way I was surprised that the band were afforded only around 45 minutes on a bill like this. A couple more songs would have certainly been welcome, as by the time new single Oxygen!, from the band's next album, rolled around it felt as if no time had really passed. The new song is very typical of Evergrey's recent core sound, with another emotive Englund chorus, and it ended the set on a high with plenty being aware of the track despite it being new. The setlist was:

A Silent Arc

King of Errors

Distance

Where August Mourn

Cold Dreams

Falling from the Sun

Oxygen!

Again, the changeover between the sets seemed fairly quick - and it did not seem all that long before the stage was bathed in red light and the five current members of Katatonia took to the stage. With only Renkse left from the band's early days, and two new guitarists in tow, this is very much a new-look version of the band. Renkse has been dominating things from a songwriting and production standpoint for quite a while now, though, so the change in line-up has not really altered the core sound much - with Nightmares as Extensions of the Waking State very much in-keeping with what came before. Two of the new songs came early on, with Thrice and The Liquid Eye being deployed early - whilst the older favourite Soil's Song separated the two to drag the old hands along. Overall, the band's core sound came across well live. The interweaving guitar riffs and melodies of Nico Elgstrand and Sebastian Svalland did a lot of the heavy lifting - but I was also impressed by the playing of Niklas Sandin (bass guitar) who laid down plenty of melodic basslines and counter melodies throughout. An understated frontman, Renkse generally sounded strong vocally. He has this strange habit of waving the microphone around in front of his face, though, which meant that his voice was not always as clear as it should have been - but his core tone and that sense of hopelessness his singing can often give did cut through. Despite the gothic and downbeat nature of much of the band's sound, alongside a gloomy lighting set-up and dark colours on the video screens, Renkse and the band seemed to be having a good time. Katatonia are never going to be a band to attract rowdy crowds or big sing-a-longs, but the vibe in the room fit their music nicely - and the crowd was appreciative throughout. Renkse seemed pleased with the reception throughout, and seemed to have fond memories of previous gigs in the city. Clearly Katatonia are well-liked in Bristol, with the Electric Bristol nicely full without being packed - and Renkse regularly took time out to thank the crowd despite not talking all that much overall. I recognised the songs played, but I cannot say that I was really all that familiar with any of them apart from those on the new album. The older Leaders did stand out, though, whilst I did also remember Dead Letters from my few listens to Dead End Kings when I picked it up a while ago. Another highlight, too, was the heavier Nephilim - a song which perhaps hints at where the band came from. Whilst it essentially followed the same patterns and core sound as everything else, the riffing certainly felt doomier - and it was the toughest moment of the set which was often much more atmospheric than truly riffy. Despite my earlier comments, the newer Wind of No Change did elicit a little bit of a sing-a-long - whilst Old Heart Falls perhaps garnered one of the strongest reactions from the crowd in terms of cheering its announcement. Another song I remember from a few years ago was the more melodic Lethean - a song which always reminded me a little of Anathema. It was a welcome addition to the ending portion of the band's main set - which later ended with a slightly longer version of In the Event Of from their latest album. The band did briefly leave the stage, but there was time for one more - with another somewhat riffier piece in the form of Forsaker giving the long-time fans something to cheer for as the band's 80 or so minutes on stage came to a gloomy close. The setlist was:

Thrice

Soil's Song

The Liquid Eye

Austerity

Rein

Leaders

Dead Letters

Nephilim

Wind of No Change

The Longest Year

Old Heart Falls

July

Lethean

No Beacon to Illuminate Our Fall

In the Event Of

-

Forsaker

Despite not coming away from the night any more of a Katatonia fan than I already was, I remain a casual fan of the Swedish gloom-mongers - and I am glad that I have now seen the band live. They are a band that I probably should like more than I do - but they still managed to impress live and there was a strong atmosphere in the Electric Bristol throughout their set. I probably do need to check out the band's older, heavier work to properly understand their journey - but for now I have strong memories from seeing them live for the first time.

The Wildhearts - Torquay Review

Over the last couple of years, it seems that the Devon coastal town of Torquay has been making an effort to become one of the South West's premier live music destinations. Bristol has been the only South Western city which has regularly hosted numerous bands of note for many years, and in truth it does not feel like a true part of the South West, with other cities like Exeter and Plymouth, particularly the latter, lagging behind. Torquay was never even a part of the conversation, though, but that has changed in a big way of late - and things only seem to be going one way. Modern southern rock legends Black Stone Cherry have recently announced a gig in the town for next year - and I also have tickets to see both Michael Monroe and Buckcherry there in March. Earlier in the year I caught Cradle of Filth live for the first time in Torquay, too, and there have been other named acts that I did not go and see - including the likes of The Dead Daisies and Skindred. The reason for this uptick in activity is the presence of both The Foundry and the Arena Torquay - two complimentary venues of differing vibes very close to each other. Crucially, the venues are the right size, too. Both can accommodate anything from a few hundred up to around a thousand - but the two venues offer different vibes. Plymouth has always suffered by not having a venue of such a size for many years - and now that Torquay have two, alongside some very active promoters, it is no surprise that bands are going there. Given that the roads to Torquay are not always the best, it just goes to show that having the right combination of venue and promoter means that such things do not matter so much - and it is great that more bands are coming to the South West as a result. The reason for my latest visit to Torquay, on Sunday night, was the cult UK rockers The Wildhearts. I had only been back at home for a few hours following getting home from Nottingham before it was time to get on the road again - and following a stop over in the town's Wetherspoons it was time to head up to the Arena Torquay for the first time. I have been a fan of The Wildhearts for a number of years, but Sunday night was only my third time seeing them live. I cannot remember exactly when I first started listening to the band, but I became a proper fan after seeing them live at the 2019 iteration of Bloodstock Open Air when they were a late replacement for another band that dropped out. Despite this, the band put on a barnstorming show to a crowd that generally wanted heavier music - and I started to take them much more seriously as a result. Sadly, my second Wildhearts live experience was much less positive. I saw the band again in Exeter in 2021, not too long after the lockdowns came to an end - and it was a bit of a car crash of a show. The Wildhearts have been famously volatile over the years - and it is clear that what has become seen as the classic line-up just cannot function together. It seemed to be working in 2019 but when 2021 rolled around it clearly was not - and frontman Ginger Wildheart, who publicly struggles with this mental health, clearly did not want to be there. It was an unpleasant experience as a result, then, as he was genuinely very angry at times - and the band's days were clearly numbered. Thankfully, though, the Ginger of 2025 seems to be in a much better place. Help was sought at some point in the interim - and he slowly put together a new version of The Wildhearts whilst recording Satanic Rites of the Wildhearts (which I reviewed here) which dropped earlier in the year. I liked the album a lot, and the shows earlier in the year received good reviews, so when a local show was announced a few months ago I knew I had to give Ginger another chance.

I was quite impressed with the Arena Torquay. The Foundry is more of a typical venue, and feels larger, with a balcony, whereas the Arena Torquay feels smaller - but had a good bar area, toilets, and the stage seemed quite wide which suited the overall space. The band attracted a pretty healthy crowd, too, especially for a Sunday night. The place was not full, but there were plenty of people around - and there was a good atmosphere as a result. It was that nice balance of feeling full but still having room to move around and breathe - which is always welcome. Before The Wildhearts' set, though, there were two support acts to get through. Up first, from Bristol, were Mother Vulture - who I had also seen in 2021 at an open-air show down near Truro which was headlined by Orange Goblin. I do not remember much of the band's set from four years ago, aside from them being a bit quirky, but they are a name that I keep seeing around - so they are clearly starting to rise somewhat through the ranks. Whilst I did not come away from the show a fan of the band, I certainly did not dislike their 30 or so minutes on stage. This is because Mother Vulture really do not sound like anyone else - so their originality stands out. It is hard to describe their sound, but they mix punk with a 1960s garage rock feel - alongside some psychedelic and even hardcore influences. There were moments in the band's set which were quite heavy, with almost metallic riffing and harsh vocals from enigmatic frontman Georgi Valentine, whereas other moments felt a bit more grounded and older in vibe - with high-pitched clean vocals and a progressive vibe. Despite only consisting of guitar, bass, and drums, there was a lot going on due to the various riffs and layers present. The bass was often doing something different to the guitar and this helped the band's songs to sound complex. As a result of this, alongside the large suite of influences mentioned previously, the band's songs were all over the place in terms of style - meaning that what was about to come next was always a surprise. Whilst this meant that the overall vibe of the set was a bit chaotic at times, and it was hard to keep track of what was going on, it did mean that the band's 30 minutes flew by - and there were clearly a few fans in attendance which made for a bit of an atmosphere. The Wildhearts' music can be quite varied - so having another genre-bending band on the bill helped to compliment the night's overall vibe.

A short while later and the evening's second support act Meryl Streek took to the stage - and it was unlike anything I had ever seen live before. Backed only by a drummer, who was not namechecked and was essentially ignored by Streek all set, Streek was something of a performance/punk poet - but much more aggressive than average. There was a musical backing besides the drumming, which largely was punky guitar/bass grooves, but the focus was clearly on the lyrics and Streek's intense delivery of them. At times he almost rapped, his poetry quite rhythmic, but generally his delivery was much punkier and shoutier. Unsurprisingly, Streek's material was very political - and from that quite nihilistic school which punk often operates from. Streek's material was uncompromising, angry, and lacking in any kind of nuance. In some ways, I understand. There is a lot to be angry about in the world - but I personally have never subscribed to such a way of looking at things. As such, I could not always connect with what Streek was saying, at least with the venom with which it was presented, but I could not help but be captivated by his set. In a way, he made sure this was the case. Clearly knowing that what he was doing would be divisive, something which he openly admitted, he just made sure people paid attention. He ended up spending quite a bit of time on the floor of the venue rather than the stage - prowling around looking deranged (it looked like he had some strange contact lenses in) and getting in people's faces. I am not sure that everyone appreciated this - and, like me, I imagine that quite a few were unsure what to make of his set. Furious, politically-charged rant/raps, even to a Wildhearts crowd, might be a bit of a hard sell - but he certainly generated a bit of a reaction, even if some of that was potentially to alleviate being picked out for the next prowl! I cannot say that I enjoyed Streek's set, but it will certainly live long in the memory - which, I guess, is the point.

The stage was cleared quite quickly following Streek's set, so by the time I had visited the facilities and bought a t-shirt it felt like it was time for The Wildhearts. For this tour, Ginger had planned a two-hour set, but the addition of a third band on some of the bills without his knowledge meant that some shows only had time for a more traditional 90 minute set. Given Mother Vulture's inclusion, the Torquay crowd did not get the full experience - but that did not seem to matter as the band was fired up and ready to go. I had wondered if this inconvenience would sour the overall mood - but it did not. Ginger was up for the show from the off - and he seemed to be having a great time, talking to the crowd in his usual dry manner, cracking jokes, and seeming happy with the venue as a whole. The rest of the band, of which only Jon Poole (bass guitar/vocals) has any kind of real history with the band, were all great - and they straddled that line of tight/chaotic which has always made The Wildhearts tick. They kicked off with the lengthy Failure Is the Mother of Success from the latest album - with the riffy piece getting the set off to a fine start. The setlist chosen was not particularly casual friendly, with many live staples absent. This did not bother me, though, as I was ready to hear something different - and plenty of die-hards in the crowd likely enjoyed the deeper cuts being wheeled out. It was fairly forward-looking, too, with songs from more recent albums making up the bulk of the set - whilst a brand new cut in Spider Beach, from the band's next album, was played later on. There were a handful of older favourites, though, with the sing-a-long Nothing Ever Changes but the Shoes going right back to the band's early EPs - and the long in the tooth fans certainly lapped it all up. Sleepaway from the band's last-but-one album and the rarely-played Vernix were deeper cuts thrown at the crowd early on - but each song was greeted warmly, and Ginger seemed to be enjoying the overall vibe. The hookier Mazel Tov Cocktail had the whole room singing again, though, and the vibe of the night went back and forth between anthem and something deeper for the die-hards. Despite the deeper cuts, though, the set felt quite upbeat. The tongue-in-cheek Kunce certainly helped that vibe to be maintained - as did Cheers, the band's poppy and elongated take on the sitcom theme of the same name. There were heavier moments, too, which allowed Ginger and fellow guitarist Ben Marsden to lay down some tight riffs - with Splitter being a good example of such. The classic Everlone followed later and it ended, following plenty of singing, with a snappy run-through of a number of older Wildhearts riffs to drag the arrangement out somewhat. Before this, though, the aforementioned Spider Beach had a more synth-heavy vibe thanks to Carol Hodge (keyboards/vocals) - the band's newest recruit who also, along with Marsden, put in a big shift on vocals to deliver the trademark Wildhearts harmonies in the absence of CJ. The new song sounded good, but different, so I am looking forward to seeing what this line-up has come up with the in the studio next year. Following Everlone, there was not too much time left, but the lengthy Slaughtered Authors was another highlight - with plenty more riffs thrown in, an epic chorus, and a knotty instrumental mid-section which showcased the band's prog side. The sing-a-long newer anthem and setlist staple Diagnosis then followed - before the whole night came to a close with a lengthy version of Chutzpah, which included plenty of soloing from Marsden. It was a powerful way to end the show and the Torquay crowd made their pleasure known as the band left the stage. The setlist was:

Failure Is the Mother of Success

Nothing Ever Changes but the Shoes

Sleepaway

Vernix

Mazel Tov Cocktail

Kunce

Maintain Radio Silence

Cheers

Splitter

Spider Beach

Everlone

Slaughtered Authors

Diagnosis

Chutzpah

Given that my last experience seeing The Wildhearts live was a negative one, it is great to now have another positive one to supersede it. The band really rocked in Torquay and the new-look line-up proved that they are more than capable of carrying on Ginger's vision and bringing the band's catalogue to life. With the next album already recorded, and due out next year, it does not seem as if the band are slowing down any time soon - and I hope that they return to the South West again in the future.

Sabaton - Nottingham Review

I am not long back from my second trip to Nottingham in as many weekends. After not visiting the Midlands city since last August, I have now been there twice in a fortnight this year - and this weekend is not yet done. Later on today I will be heading up to Torquay to catch The Wildhearts - whereas tomorrow afternoon I will go to Bristol for the last time this year for Katatonia. Despite spending some of the weekend at home, then, and gigging fairly locally tonight, this weekend is shaping up to be another very busy one. I am actually looking forward to a quiet weekend next weekend - but I still enjoy getting to as many gigs as I can, and last night took me back to the Motorpoint Arena, Nottingham's largest venue, for the first time in a couple of years. My last visit to the venue was for Iron Maiden's 2023 show, which was very memorable, but last night's event was a much newer band - the Swedish power metal band Sabaton. Sabaton are likely the biggest power metal band on the planet at the moment. Helloween likely still command more respect due to their legacy, and their shows are drawing plenty of people, but in terms of current popularity levels I do not think that Sabaton can be touched as far as the power metal genre is concerned. Given Nightwish's hiatus, too, they may even overtake the Finnish band in the modern melodic metal stakes - and having followed Sabaton properly since around 2012 I can see why they have risen through the ranks. I actually saw the band live for the first time in 2009, when they played in Truro with DragonForce, but it was not until a little later that I started to actually get into them properly - and I saw them for the first time as a headliner in 2012. I have not really looked back since, and Sabaton have often been heavily featured on my iPod. Whilst their albums can get samey, and the band are certainly guilty of self-plagiarism at times, their energy and sound is often very infectious - and their bite-sized albums mean that they can often be put on at any time. Despite this, though, over the past couple of years I took a bit of a break from listening to Sabaton. I was a bit disappointed with 2022's The War to End All Wars (which I reviewed here), as it felt like a bit of a poor re-run of the previous album, and the 2023 show I saw in London fell around the time that some trouble close to home was happening - meaning that I did not enjoy it as much as I should have. Maybe the break from listening to the band's music was needed, though, as I have been really enjoying rediscovering their catalogue again of late - and the new album Legends (which I reviewed here) certainly feels fresher than the last one, despite the band's samey core sound being ever-present. As such, I was really looking forward to seeing the band live again. I do not really remember too much about the 2023 for the reasons outlined, but all of the other Sabaton shows I have seen over the years have been great. From the tiny Hub in Plymouth in 2014, which the band played when they were already too big for it in truth, to headlining Bloodstock Open Air in 2019 - I have seen Sabaton do all sorts of different shows. The 2023 show was the first time I saw the band in an arena - which makes last night in Nottingham the second. Nottingham's arena is not as big the OVO Arena in Wembley - but the room is one that I have seen many memorable acts in over the years, and it is likely my favourite arena in the country due to its size, facilities, and location. Given Sabaton's popularity, the place was full - which meant a strong atmosphere was apparent from the off.

Rather than having a traditional support band for this European tour, the band put together The Legendary Orchestra to open the shows - which consisted of an orchestra and a choir to play an hour or so of re-arranged Sabaton material. Led principally by Scardust frontwoman Noa Gruman, violinist Mia Asano, and multi-instrumentalist Patty Gurdy - the ensemble was a great addition to the night. Their set included 13 Sabaton songs, none of which were repeated by the band later in the night, re-arranged for orchestra and choir. A few regular setlist staples were included, which meant that Sabaton had the opportunity to change up their setlist whilst fans could still some of their favourite songs, albeit differently, and I really liked some of the interpretations. Generally the arrangements were largely instrumental, although the choir would generally sing at least a chorus and maybe some of the other lyrics - whilst a few saw Gruman singing parts of the songs in a more traditional manner. The orchestra added the main depth, whilst all the main melodies came from Asano and Gurdy. They mimicked vocal melodies, main riffs, and guitar solos perfectly - and it was always clear what song was being performed from the off - even if the arrangements were vastly different. As such, the set was a very powerful one. It allowed the crowed to hear a number of live favourites in a vastly different manner to their usual arrangements - and it enabled the evening to have a real feeling of a big celebration of Sabaton's catalogue as a whole. The orchestra opened their set with Ghost Division, which finally meant that Sabaton opened their own set with a different song, but some of the overall highlights for me were a fantastic version of Hearts of Iron, a song which Sabaton have never played live, and The Final Solution - which Gruman sang more traditionally and transformed the plodding rocker into a soaring, emotive ballad. It is probably how the song should have always sounded - and Gruman's smooth voice carried plenty of emotion. The choir had a diverse make-up of voices, too, allowing for plenty of depth - whilst the instrumentation of Asano and Gurdy really carried everything. Perhaps the most impressive re-creation was actually Resist and Bite, as the chunky, metallic nature of the song was retained despite the lack of any metal instruments - with Asano playing the main guitar motif perfectly on the violin. The violin and the driving percussion helped keep the song's spirit alive - and Sparta later was subject to a similar overall treatment, with the anthemic piece this time led by the choir and the orchestra's brass section. An hour of music flew by as a result - and by the time the set came to an end with Swedish Pagans the whole crowd was onside. I imagine that some were a bit unsure about the concept at first, but it did not take long for most to be onboard - and the singing during the last track brought the evening's first part to a powerful close. The setlist was (N.B. all of the songs below are Sabaton songs):

Ghost Division

Bismarck

Maid of Steel

Hearts of Iron

The Final Solution

Sarajevo

Angels Calling

The Unkillable Soldier

Resist and Bite

A Lifetime of War

Sparta

Winged Hussars

Swedish Pagans

Given the amount of gear that needed to be shifted from the stage following the opening set, the changeover time felt quite short - but Sabaton's set got off to a slow start. Given the themes of the new album, the band had actors playing the parts of Napoleon Bonaparte, Genghis Khan, and Julius Caesar open the show by talking about why each should be considered the greatest leader. This could have worked well had it been a tightly-scripted and dramatic section - but it had the feel of a local am-dram production which was under-rehearsed and went on for far too long. It went on for well over 15 minutes, and I was certainly not the only one who got annoyed with it after a while. A few in the crowd were quite vocal in their displeasure - and I am not sure why Sabaton thought that 15-20 minutes of panto was a suitable way to kick off their show, particularly following the excellence which had come before. Some Templar knights then took to the stage, some of which turned out to be the band, but the lead knight still talked for quite a while - before the silliness stopped and the band, appropriately, launched into Templars. Due to the antics at the beginning, and a slightly muddy sound mix early on, I felt that the set took a little bit of time to get going. Frontman Joakim Brodén was a bit low in the mix during the first couple of numbers, but the sound did balance itself after a while. The actors did return briefly when their respective songs were played early on, but thankfully they did not have anywhere near as much to say this time. The fast-paced Hordes of Khan was particularly venomous early on, and the sound issues were largely sorted by this point - but perhaps my overall highlight of this early part of the night was Crossing the Rubicon. The song is one of my favourites from the new album, and the mid-paced anthem felt especially powerful live. It was great to hear five songs from the new album throughout the set, with four coming very early on, but there was still plenty of focus given to the catalogue. Carolus Rex, sung in Swedish, saw the stage set, which was a large castle this time with no tank in sight, draped in blue and yellow, whilst returning guitarist Thobbe Englund re-created The Red Baron's Hammond organ opening melodies and later solo on his guitar. Despite the 'older' vibe of the stage set, there were still plenty of props used. I, Emperor earlier had made use of cannons, whilst German soldiers set out plenty of dynamite during Stormtroopers - with the song ending in one of the loudest pyrotechnic bangs of the night. A brief drum solo from Hannes Van Dahl then allowed some percussion to be set up - with Englund and fellow guitarist Chris Rörland playing such during the final new number A Tiger Among Dragons whilst Brodén played the guitar. The rest of the set saw the choir from The Legendary Orchestra joining the band, adding depth vocally. A number of favourites were given a boost as a result, but the carol vibes of Christmas Truce nicely benefitted from the additional vocal heft - whilst the crowd lit up the venue with their phones. There was a bit of a strange moment during The Attack of the Dead Men where the band, apart from Van Dahl, were nowhere to be seen. I think they were performing the song in the gap between the stage in the crowd, but hardly anyone could see what was going on - and I get the impression from reviews of other shows that a bridge which extended out over the crowd was generally utilised during this song, which was likely not possible in Nottingham. Following this point most of the theatrics were done with, and it was left for some big favourites to just do the talking. Night Witches and Primo Victoria unsurprisingly saw plenty of singing from the large crowd - as did the epic The Art of War and the modern-era closing number To Hell and Back. There was one more to come, though, with the band pulling out the oldie Masters of the World to close things out. I would have perhaps swapped the last two songs around, as it was clear that not everyone knew Masters of the World - but it was nevertheless a fun end to what, after a shaky start, had morphed into an epic, arena-worthy set. The setlist was:

Templars

The Last Stand

Hordes of Khan

I, Emperor

Crossing the Rubicon

Carolus Rex

The Red Baron

Stormtroopers

Drum Solo

A Tiger Among Dragons

Christmas Truce

Soldier of Heaven

The Attack of the Dead Men

Night Witches

Primo Victoria

Steel Commanders

The Art of War

To Hell and Back

Masters of the World

Sabaton never really disappoint as a live act, and seeing them reach arena level shows that all of their hard work over the years has paid off. They probably need to tone down some of the theatrics a little going forward, or at least make them a bit more tight and rehearsed, but in terms of spectacle and scale the show felt suitably epic. It was great hearing so many songs from the new album live, too, alongside some favourites - whilst the addition of The Legendary Orchestra really made the evening a special one.

Omnium Gatherum's 'May the Bridges We Burn Light the Way' - Album Review

It feels strange to be sitting down to write something which is not either a concert review nor connected in some way to power metal. I have been lucky to get a large number of gigs over the past few months - whilst new albums have come thick and fast. Clearly I have not exclusively been reviewing power metal albums, there just seems to have been a glut of them of late, and there is not likely to be a huge amount more power metal coverage this year - although I am seeing Sabaton live this coming weekend. Today, then, we turn away from both gigs and power metal to cover a melodic death metal album from a band that, until recently, I was not hugely familiar with. Finland's Omnium Gatherum, who have been around since 1996, are a band that I heard about a long time ago - but who I only properly checked out earlier this year. I have been aware of Omnium Gatherum's guitarist and driving force Markus Vanhala for a while due to his association with another Finish melodic death metal band Insomnium, who I am marginally more familiar with, but I truly started to take notice of him properly last year when I reviewed Nordic Gothic (which can be read here) - the debut album by the gothic rock/metal supergroup Cemetery Skylines. Whilst the album felt largely like a vehicle for legendary melodic death metal figure Mikael Stanne to showcase his clean vocals - Vanhala was one of the main songwriters, co-writing half of the album with Stanne, alongside being the band's sole guitar player. Given how much I enjoyed Nordic Gothic, and how I was already familiar with most of Stanne's work as well as other main songwriter Santeri Kallio due to his work with Amorphis, I felt that it was time to properly check out Vanhala and his wider catalogue. I have been listening to some of Insomnium's more recent albums of late, then, and I also picked up Omnium Gatherum's 2021 release Origin. When it comes to melodic death metal, with the exception of the genre-defying mavericks Children of Bodom, I tend to prefer the sound which comes from Sweden rather than the one which comes from Finland. This might be strange given how much I tend to like the Finnish metal scene, but Finnish melodic death metal tends to be much gloomier and atmospheric than the more hard-driving, upbeat, and NWOBHM-influenced Swedish sound. I am generally a bit less familiar with the Finnish scene - and find it a little more ponderous and closer in tone to genuine extreme metal at times thanks to some black metal-adjacent atmospherics and vocalists which are often closer to true death metal. That being said, I have been enjoying my early forays into both Insomnium and Omnium Gatherum. I actually saw the former many years ago opening for Paradise Lost - but Omnium Gatherum are the focus of today's review, as their tenth studio album May the Bridges We Burn Light the Way was released last month. It is the band's first album since Origin and their second with their current, slimmed-down five-piece line-up. Vanhala is the only original member left at this point - but both frontman Jukka Pelkonen and keyboard player Aapo Koivisto have been in the band for around 20 years at this point. The rhythm section of bassist Mikko Kivistö and drummer Atte Pesonen is fairly new, though, with this latest album their second outing with the band. Vanhala, who has often had a guitar partner, handles nearly all of the guitars here - although former member Joonas Koto, who has been playing live with the band again of late, contributes a few guitar solos.

Compared to Origin, which was big and brooding in classic Finnish melodic death metal fashion, May the Bridges We Burn Light the Way feels deliberately more bite-sized. The album is on the short side, and there are no real lengthy pieces here - with hooky melodies throughout, and a more uplifting, keyboard-driven atmosphere compared to the murk which often characterises this kind of music. The opening instrumental title track sets this tone from the off, with Koivisto's sci-fi synths slowly bubbling into view as the album gets going - before a rhythmic groove-backed riff takes over. The synths continue to sparkle away in the background, whilst the grinding riffing does its thing in the foreground - whilst melodic guitar and synth tandem melodies often burst through, adding some early hooks and speed. There is almost a prog metal feel to some of these unison runs, but the core melodic death metal sound is retained - even if the opening of My Pain includes some similar neo-classical shredded melodies from Vanhala. The song overall, though, is a great representation of the hooky sound the band are going for here. Early on a spacey synth melody is utilised as the song gets going proper, which later resurfaces during the soaring chorus, whilst Pelkonen is introduced for the first time during a propelling verse - which is backed by by a barrelling riff, plenty of double bass drumming, and a bed of synths. The chorus, which sees a bigger keyboard presence in terms of melody, even if later renditions also include guitar hooks, is one of the album's most memorable moments - with Pelkonen's deep growled vocals sounding powerful against the synth hooks, before Vanhala adds some dreamy clean vocals. Omnium Gatherum have used clean vocals before, but I am under the impression that this is the first time that Vanhala has been responsible for them - with former band members previously contributing such. The combination of harsh and clean vocals works during the hooky chorus, though, even if the clean vocals are more atmospheric than powerful - whilst Vanhala showcases where his real talent lies during a lengthy guitar solo section which is full of shredded parts and more progressive, controlled moments. The synth melodies which have come in and out throughout the song also weave their way into the guitar solo section, which adds to that prog metal feel, whilst the final chorus doubles down on the smooth melodies of previous renditions - before the song closes out with a furious shredded guitar motif. The Last Hero opens with a flashy synth melody, before a chugging guitar pattern kicks in - and the song slowly builds around it, the guitar melodies getting more complex and the drumming getting more intense. This slow-burn of an intro works well, though, especially as when the first verse kicks in the heaviness of the band is really shown - with plenty of fast double bass drumming and some venomous riffing. There is little of the last song's melody in the verses here, despite the occasional guitar flourish and the synth bed, and there are moments of genuine extreme metal - but the chorus changes things. Whilst not as overtly hooky as the last song's chorus - Pelkonen's harsh vocals feel anthemic atop a hookier and hard-driving riff. A later bridge section is more melodic, too, as it kicks off with a brief Vanhala solo before synth melodies drive the riffing behind the vocals. Koto's first solo follows this bridge - and it is furious and fast-paced.

The Darkest City does not open with synths as the previous songs have done, with a mid-paced riff taking over right away - hinting at a more mid-paced arrangement which does not immediately follow. It seems as if the song is going to be a groovier piece, but fast drumming soon kicks in - with the rhythm section propelling things whilst faster chugging guitars sit above the retained groovy riff. The vibes are quite mixed early on, then, but a spacey section soon follows, with a synth and guitar melody which later forms part of the song's chorus. All of this is packed in before the vocals kick in - and once Pelkonen starts growling the threatened mid-paced groove does indeed take hold. The bass drumming is still quite fast, but the riffing maintains the groove - whilst a drum barrage later heralds that aforementioned chorus which sees that heroic synth melody kick back in, as well as Vanhala and Pelkonen trading clean and harsh vocals. The clean vocals tend to dominate the chorus, and there is plenty of melody to be found as a result, whilst Vanhala's later spacey guitar solo continues on the overall chorus vibes with some soaring and slow burning melodies set against some intense synths. Walking Ghost Phase then returns to something more overtly heavy, particularly given the last song's slow-burning outro, although it is also anthemic and hooky throughout. The synths take a bit of a backseat here, at least from a lead perspective. There is still plenty of atmospheric depth, but this is very much a guitar-driven song. Kivistö does make his presence felt during the verses, though, which are very bass-driven - and these verses are some of the most stripped back moments on the whole album. They contrast the bigger guitar arrangements elsewhere, then, as the rest of the song is full of guitar melodies. The riffing is solid here, but this is very much a song for lead guitar lovers - as Vanhala fills much of the song with hooky melodies. The chorus, which also features some gang vocals to shout along to, is filled with hooky guitar melodies, as well as some rare synth counter-melodies in this song, whilst a later solo section is high-octane and shreddy. The big, fists-in-the-air chorus and the focus on guitar melodies makes the song standout from the crowd - and it has become a favourite of mine. Ignite the Flame returns to the more expansive, synth-heavy sound which has largely characterised the album up to this point. The song's intro is quite lengthy, opening with some guitar melodies but later dominated by some synths and a dense atmosphere, whilst the contrast between heaviness and atmosphere is once again on full display. The later chorus is a full-on atmospheric feast, with sparkling and pleasing synths backing Pelkonen's heroic-sounding growls alongside some more guitar melodies, whilst the verses are much heavier - with fast-paced thrashy riffing and more gang vocals at opportune moments. The contrast between the two main sections of the song allows the different sides of the band's core sound to shine, then, whilst a later guitar solo section sees Vanhala and Koto trading speedy licks back and forth - whilst some intense drumming rattles away beneath them.

Streets of Rage opens with another groovy, mid-paced riff which sets a headbanging tone - and, once again, Vanhala lays down a tight guitar melody over the top. There is a big focus on spacey, soaring guitar melodies throughout this album - with this cut really showcasing such. As was the case with the previous song, though, this is a song of contrasts. The verses are, again, on the heavy side. There is a strong bass presence in the mix during the grinding verses - with the growled vocals and the somewhat faster pace allowing for a typical melodic death metal feel. The chorus is another very hooky, moment, though, with similar guitar leads from the intro returning - and the synths being utilised to their fullest extent. The guitar solo section is perhaps the hookiest on the album, too, as Vanhala does not lay into his instrument and shred - instead building on some of the melodies used elsewhere to lay down some really melodic hooks in a more long-form manner. The last vocal-led song here is Barricades, a faster song which opens with some high-octane neo-classical guitar melodies - which are backed by some suitably fast drum fills. This intro is quite prog metal in its overall vibe, thanks to the busy guitar melodies and drumming, and overall this song does feel a bit more intense and complex. There are certainly some heavier moments here, but the prog metal sound seems to dominate overall. Vanhala's guitar playing is always doing something interesting here. He rarely just chugs along on this one - instead going for intricate riffing and melody lines throughout - throwing plenty of notes into the track whilst Pesonen's frantic drumming helps to keep all of these riffs and melodies feeling furious. The chorus feels a bit more controlled than the high-octane nature of the rest of the song, but Pelkonen's vocals are still backed by plenty of guitar melodies to ensure that the hooks remain - whilst Koto and Vanhala later trade off again during another guitar solo section which is suitably fast-paced and full of notes given the prog vibes throughout the rest of the piece. Given the more atmospheric vibe of the rest of the album, despite the plethora of strong riffs and hooky melodies, it is fitting that the closing vocal-led song here is a bit more intricate and bombastic - with Vanhala really showing his worth as a guitarist and songwriter here, including plenty of hooks around his intense riffing and guitar pyrotechnics. The album then comes to a close with the instrumental Road Closed Ahead, which is largely an atmospheric piece that builds on many of those tropes from throughout the album. The synths of Koivisto really come to the fore here. Vanhala does, of course, lay down some guitar leads throughout - but overall this feels like more of a keyboard-led piece. The grooves from the guitars and the rhythm section are quite hypnotic, and this allows Koivisto to do his thing above the riffing - and the synth swells and melodies are quite soundtrack-esque at times. The song has that feeling overall, and it is less intense than the opening instrumental piece - even if there are still plenty of metallic and chugging moments. It is a fairly sparse closing statement, though, but it does contrast nicely with the busier track which came before. Given that May the Bridges We Burn Light the Way is my first true Omnium Gatherum experience, I have really been enjoying it over the past month. It is a different-sounding melodic death metal album to what I am used to, but the hooks are plentiful and the guitar playing throughout from Vanhala is excellent. This is clearly a band that I need to take more notice of, and I intend to pick up some of their older albums in due course. The bite-sized nature helps, and this is an album I can see myself coming back to fairly often.

The album was released on 7th November 2025 via Century Media Records. Below is the band's promotional video for My Pain.

Quireboys - Nottingham Review

Keeping up with reviewing duties following long weekends away can be tricky. Going to so many gigs in a short space of time can be tiring, and they can start to blend a bit - particularly when it comes down to getting nuances of each across in writing. I try to do as much writing as I can on the road - and recently bought a keyboard for my tablet to make this task easier and remove the need to cart my laptop around with me. They tend to need finishing off when I get home, due to the lack of a proper spellchecker on my tablet, but it does help to be able to get down my raw thoughts on the go - and it ensures that reviews come thick and fast. Today's post is the last which covers this past weekend's adventures, then, following pieces covering both Lacuna Coil in Cardiff and The Almighty in Nottingham. The third night out in a row also took place in Nottingham, but sadly I was not staying in the same hotel for both nights due to costs - which meant I had quite a bit of time to kill throughout the day. Arriving at Nottingham much earlier than planned the day before meant that many of the shops I wanted to visit had already been visited - but the afternoon soon passed, and it meant that I could have a bit of nap before the gig following a terrible, headache-interrupted sleep the previous night. In truth, I could have done without the third night out. I have often thought that I need to cut down somewhat, but that never seems to happen. 2025 is set to be my busiest year ever in terms of gigs attended. With prices only going one way and the UK's railway network constantly decreasing in reliability (in fairness it was generally fine this past weekend, save for needing to get a significantly earlier train to Nottingham on Saturday) I may need to seriously start being more judicious with my selections - and try to avoid these tiring schedules. If one band was going to rouse me from my slump, though, it would be the Quireboys - one of my favourite live acts and my second most-seen band of all time. Sunday night was my 25th Quireboys show, although that does include one by the short lived Guy Griffin-fronted version - and it was my third seeing the band's current era in action (or fourth if the 2022 London show with a make-shift line-up of classic and one-off members also counts). Following the split in 2022, I feel that Spike really got the Quireboys back on the road properly last year - roping original bassist Nigel Mogg back in for the long haul and recruiting a great guitarist, producer, and songwriter in Thunder's Luke Morley. The other slots in the band have felt more fluid - but Willie Dowling (keyboards/vocals) and Morley's Thunder bandmate Harry James (drums) seem to be the main go-tos, with classic-era members Chris Johnstone and Rudy Richman helping out behind the scenes. I saw the band twice live last year - a decent show in Swansea and an excellent show in Bridgwater. The former was fun, and featured Richman as the band debuted some new material, but by the Bridgwater show the latest album Wardour Street (which I reviewed here) was out and the band was at their potent best. Morley felt at home in the band by that point - and the rest of the line-up was tight, whilst Spike was on form. Given that Nottingham has always been a rock town, a decent turnout for a Quireboys show was a given - but the Saltbox, a new venue for me, was likely not the best place for the show. It did not seem to be designed to cope with a crowd the size of which was in attendance - with a small stage and a strange layout which likely meant that some had poor views. The sound was decent, though, and I managed to get fairly close to the front which helped.

Before the main event, though, there were two support acts to kick the night off. The first of which, Matty James Cassidy, hit the stage just under an hour after the doors opened - which, as I have recently discussed, is a trend which is really starting to annoy me. Cassidy played for around 30 minutes, but I did not find his music to be all that interesting. I knew nothing about him before the show, but I am assuming that his recorded output is more 'produced' than the single guitar, harmonica, and stomp box set up which he used in Nottingham. I generally find that stripped back versions of songs are rarely the best way to be introduced to them - and I did not find much in Cassidy's songs to latch onto. Musically, he played some quite riffy, bluesy, rootsy rock, which is not often my thing to begin with, but I did not find the songwriting to be that tight or the lyrics to be that interesting. Vocally he was quite strong, but given his clear Irish roots he was likely forcing the rootsy vibe he was giving - but, for me anyway, the hooks were not there. Until the latter parts of his set, too, I felt that most others in attendance were feeling similar. There was not a lot of interaction with Cassidy's set early on, with plenty of talking going on around me, but towards the end the atmosphere did pick up a bit - when he played a couple of songs he had performed as part of a band with The Dogs D'Amour's Tyla. A few seemed to know these songs, so the vibe did get better around this point - but there was not much time left by the time these numbers were over. I think that it is fair to say that Cassidy's music is not really for me - but given the short length of his set I do not feel that he outstayed his welcome.

The second support act were, perhaps strangely, more up my street. When six largely older gentlemen all walked onto the stage wearing suits or suit-adjacent attire, along with hats, I was a little worried - but half way through the opening number of the Soho Dukes' set I was enjoying myself. This is strange, really, as the sort of music that the band play is not music that I would generally listen to. The band are best described as being from the British pub rock sound of the 1970s - with shades of bands like Ian Dury and the Blockheads, the Steve Gibbons Band, and Dr. Feelgood all on show. This brand of music was mixed with more traditional classic and blues rock influences - and there was enough classic rock in the band's sound to appeal to me - despite plenty of that pub rock off-beat feel. I think that what drew me in the most was frontman Johnny Barracuda. His voice was not always the strongest, but his lyrics and the way he delivered them were excellent throughout - plus his on-stage antics really captivated. The band likely played for around 40 minutes and I do not think that they played a song which did not appeal in one way or another - with plenty of shout-along choruses present in the set, alongside a surprising amount of bluesy guitar solos. Barroom piano alongside strong bluesy grooves helped the set motor along - with songs like Home Sweet Camden Town, Bovver Boys, and Suited & Booted all impressing. Subtle synth horns were used at times to flesh out the sound further, adding that big band sound that pub rock sometimes toyed with - whilst occasional frantic moments even hinted at ska. There was a lot going on in what, on the surface, seemed like quite a rudimentary sound, then, and it did not take long for the crowd to latch on. There was certainly a strong atmosphere down at the front throughout the band's set - and Spike even got up to sing with them during A Stone's Throw, which he duetted with Barracuda on on their latest album. This bluesy ballad was a bit different again from what had come before - and it was great to constantly be pleasantly surprised throughout the band's set. I am certainly going to have to check out the band's albums - although whether these songs will translate as well on record as they do in a packed bar is another matter. The Soho Dukes were certainly a fun addition to the evening, though, and I came away enjoying what they offered.

By the time Spike and the rest of the band hit the stage around 30 minutes later the room was absolutely rammed. It was officially sold out, but I am not sure that as many people as were in the room should have been in there really as it felt very tight - but thankfully once the music started all of the shuffling around and pushing back and forth to the bar largely subsided. The reason for this short end of year tour was the 35th anniversary of debut album A Bit of What You Fancy. The band's 30th anniversary celebrations were delayed by the pandemic, so it did not seem all that long ago that the album was last being celebrated - but the setlist was largely the same as the one for the tour towards the end of last year. Plenty of songs from Wardour Street still featured - but most of the debut album was played, apart from two songs. In truth, this is the case at most Quireboys shows - but the focus was very much on the older songs this time, even if two songs from different albums kicked things off. The new Jeeze Louise and the rollocking Can't Park Here got the show underway. Spike was not in quite as good form as he was in Bridgwater last year - but he was certainly talkative and in the mood for jokes. He did not seem to enjoy the small stage that the venue had, and regularly made jokes about it, whilst teasing all of his band members as he generally does. Morley and him had a lot of banter throughout the show - and generally things were tight with Misled and Sweet Mary Ann representing the focused-on album early on. This more stripped back current line-up of the band does allow for some more of the nuances to shine through, too. With only one guitar player in the band, Dowling's keyboard playing takes on an even more important role - with the darker, driving Whippin' Boy, which he co-wrote, in particular benefitting from the piano dominating. Morley is a fantastic guitar player, too, and he easily brings the band's barroom boogie songs to life. Little in the band's catalogue likely tests him all that much - but Hey You allowed for some slide moments - whilst his soloing in slower numbers like King of New York showed that the band still allows him to display some class. It was good, too, that a number of songs from the new album were still retained in the set - allowing the current line-up a chance to show off their compositions. Both I Think I Got It Wrong Again and Happy are future Quireboys classics in my opinion - with the latter containing a particularly potent riff from Morley. Spike seemed fired up during the new numbers, too, and it was good to see him enthused - and he did mention at the end of the show that a new album should be coming next year, along with a new tour. It seems that the band want to capitalise on this current momentum - which is understandable given the strong reviews the last album received. The last knockings of the night were all about A Bit of What You Fancy, though, with Man on the Loose dusted off for a fairly rare outing these days - before classics in the form of There She Goes Again and 7 O'Clock brought the main set to a close, with everyone singing along. A two-song encore followed, with a couple more classics for the capacity crowd. A raucous Sex Party was rolled out first, before the poignant I Don't Love You Anymore was used to round the whole night out. Again, everyone was singing along - and the night ended on a high with this big run of classics. The setlist was:

Jeeze Louise

Can't Park Here

Misled

Sweet Mary Ann

Raining Whiskey [Frankie Miller cover]

You and I

Hey You

Whippin' Boy

I Think I Got It Wrong Again

King of New York

Happy

Man on the Loose

Roses & Rings

There She Goes Again

7 O'Clock

-

Sex Party

I Don't Love You Anymore

Quireboys shows are always worth the effort, and it was not long into the evening that the blues from earlier in the day had faded away. Spike just has a way of making everyone smile. He might be rough around the edges and might not be on-point every night - but I always enjoy seeing him and his band live. It was my first and only Quireboys gig of the year, so hopefully that promise of a new album and tour next year is fulfilled. He is also undertaking a solo acoustic tour earlier in the year, which is coming locally to me - so I will be seeing him in March as a solo artist if nothing else.

The Almighty - Nottingham Review

I have always loved going to gigs in Nottingham - and it is a real shame that I do not get there very often these days. When I was living in Leicester for university I was often in Nottingham - particularly during my second and third years of study once a proper routine had been established. Many of those shows took place the famous Rock City - a venue which I probably would have said was my favourite at the time. I think that KK's Steel Mill in Wolverhampton has now overtaken Rock City, as it seems to be more versatile and I just seem to end up there much more regularly - but Rock City is still a nostalgic place for me. As such, for the first of my two nights in Nottingham catching gigs, it was good to return to the venue for the first time for a while. At first I did not think that I had been there since seeing Skid Row in 2019 - but I then remembered a 2022 Reckless Love gig that I attended. Still, it had been three years since last visiting a venue I once was at almost monthly - and it was good to get back to Nottingham for the first time since last summer's trip to catch Armored Saint at the Rescue Rooms. The reason for my trip to Nottingham this time, though, was to catch the Scottish hard rock/heavy metal act The Almighty on their latest short run of UK shows. Since reforming in 2023, The Almighty's brief winter tours have become a staple of my gigging calendar. I saw the band for the first time in 2023 in London - and again last year in Wolverhampton. Both the 2024 and 2025 tours were announced in 2023, just after the band's first successful run - which means that I had had this Nottingham ticket for just under two years. So good was that London show that I immediately bought tickets for both of the following tours - and The Almighty have gone from being a band I was casually into but likely preferred frontman Ricky Warwick in other bands to being an essential band that I listen to regularly. Given that they had not existed for many years, it has been a treat getting to see them live recently - and hopefully there will be more to come. At the time of writing, the band have no more headline dates announced. They will be playing with Iron Maiden at a big Knebworth show next summer and at the Maid of Stone Festival - but that is the only live activity which is currently public knowledge. I am not expecting too much, as the band's reunion has been quite deliberately low key - but they have still played a handful of other shows outside of these brief UK tours, including a couple of festival appearances alongside a trip to Japan. Warwick did finish Saturday's gig by saying 'See you all next year', which suggests that there is more to come apart from what is known about, but the band's loyal fans will just need to wait and see. A Saturday night at Rock City always means an early show, too. Doors were at 6pm and everything was done by 10pm. This was welcome on Saturday, as I had arrived in Nottingham much earlier than planned - due to most of the trains between Cardiff and Nottingham being cancelled due to CrossCountry's on-going incompetence. As such, I got to Nottingham just after 11am - and had a good wander around the various record shops before getting some food and checking into the hotel. After having a bit of a nap as the football scores came in, I felt ready for a night out in Nottingham - so walked through the buzzing city centre, with all its Christmas decorations up, ready for some excellent early 1990s metal.

The Almighty have brought decent support acts along for the ride on each of their reunion tours - and this time was no different. Tamworth's Wolfsbane were easily the best of the three, and the two bands go back to their respective early days - and, I think, had toured together before. I like Wolfsbane quite a lot, so I was looking forward to seeing them live. I had seen them before - but it had been a few years since I last saw them, and their 45 minute set was a great way to get the show underway. As was the case throughout the whole night, as is common at Rock City, the sound from the off was excellent. Wolfsbane did not have to battle through typical support act sound - and the band's fast-paced, punky metal shone through from the off. Despite having a short set, Wolfsbane managed to fit in 12 songs - with nearly all of their albums represented. There was no messing around from frontman Blaze Bayley and the band, then, although it did help that their songs are generally short, fast, and furious. Opening with the anthemic Steel, it was clear from the off that the band were not going to have to do a lot to get the crowd onside. Plenty in attendance were obviously Wolfsbane fans as well as Almighty fans - and Bayley had the opening song's chorus sang back at him from the off. Much of the set featured old classics, but a couple of newer songs were also played. The snappy Spit It Out was deployed early on, with no drop in energy levels apparent - whilst the aptly titled Rock City Nights was another new cut that the crowd were treated to. Given that the band have recently re-recorded their debut album, it was inevitable that a number of songs from it featured. The live favourites were held back for later - but deeper cuts like Fell Out of Heaven were certainly well-received - even if ever-presents from other albums like Loco and Temple of Rock were likely better received. No song played was poorly received, though, and Wolfsbane coasted on the energy from the crowd as a result. Even another newer cut in Smoke and Red Light was greeted like an old friend - with Bayley telling the story of how the band were formed, relatively locally, during such. The band's time on stage flew by, and it did not seem like long before their true anthem in Man Hunt was wheeled out - raising the energy levels higher than before. Everyone sang the song's punky chorus loudly, previewing later reactions, whilst it was left to Paint the Town Red to close out a powerful opening set from the four-piece. The setlist was:

Steel

Spit It Out

Fell Out of Heaven

All or Nothing

Rock City Nights

Loco

I Like It Hot

Temple of Rock

Smoke and Red Light

Kathy Wilson

Man Hunt

Paint the Town Red

Half an hour or so following Wolfsbane's strong set the lights went down again - heralding The Almighty taking the stage. The band are a very much a no-nonsense outfit, so there was little standing on ceremony. As such, the band's hard-driving metal sound was evident from the off - with the muscular Takin' Hold kicking off a 20-song set. As was the case last year, too, the band had shaken up the setlist again for this third tour. They still only drew from their first four albums, which has largely been the case since reuniting, but given the rarity of the band's shows these days I doubt that many would begrudge them largely sticking to old favourites. Despite this, though, the set did include four songs which I had not seen them do live before. One of these, Love Religion, came fairly early on - but for the most part the first third or so of the set was made up of true anthems. The shout-along Jonestown Mind was wheeled out early on, perhaps to capitalise on energy levels still running high from Wolfsbane's set - whilst songs like Over the Edge and Power showcased the band's mid-paced, riffy metal sound nicely. As has been the case since their reunion, too, the band's performance was tight and full of energy. I have seen Warwick in a number of bands now, but with The Almighty he always seems to be at his best. It is clear that this heavier music was his first love and his performances with the band always seem more intense than at his solo shows or with Black Star Riders. The rest of the band are no slouches, either, with Tantrum (guitar/vocals) filling the set with plenty of high-octane, yet bluesy, guitar solos - whilst bassist Floyd London, now sporting an impressive beard, always seems to perform as if his life depends on it. Drummer Stump Monroe is a hard-hitting powerhouse, too, and the off-kilter grooves on tracks like Addiction showcased his particular style nicely, shaking the venue walls. It was another song which was sung loudly by the crowd, too, as were later anthems such as Welcome to Defiance and Wrench. The middle part of the set included a couple of lesser-played songs, though, including Lifeblood and semi-ballad Out of Season - the latter of which had never been played live before this tour. These deeper cuts set up a final third of the set which was a bit more atmospheric and brooding - with both Bandaged Knees and Jesus Loves You...But I Don't both making appearances. There were still plenty of anthems featured here, though, including the more hard rocking Devil's Toy and the Thin Lizzy-esque riffing of Destroyed. Both saw plenty of singing from the crowd - whilst the die-hard, long-standing fans were rewarded by a rare outing of old b-side Thunderbird. The aforementioned Jesus Loves You...But I Don't acted as a strong penultimate number of the main set, with some strong soloing from Tantrum - but it was left to Wild & Wonderful to bring it to a close. As expected, there was a lot more singing during the song's big chorus - and as the crowd left the stage there was plenty of cheering for more. The band, of course, obliged, and a two-song encore followed. Another brooding ballad in the form of Little Lost Sometimes kicked this encore section off, with Warwick armed with his acoustic guitar, whilst the band's ever-present anthem Free 'n' Easy brought the rollocking set to a close - again, complete with more singing. The setlist was:

Takin' Hold

Jonestown Mind

Over the Edge

Love Religion

Power

Full Force Lovin' Machine

Addiction

Welcome to Defiance

Lifeblood

Out of Season

Wrench

Crank and Deceit

Bandaged Knees

Devil's Toy

Thunderbird

Destroyed

Jesus Loves You...But I Don't

Wild & Wonderful

-

Little Lost Sometimes

Free 'n' Easy

The Almighty's annual winter tours have become something I look forward to each year - so it seems strange that nothing else is currently planned. From what Warwick said from the stage, though, I would not be surprised if another run of shows was announced soon - as the band seem to be having fun each time they step on the stage, and their fans across the country seem to enjoy coming out night after night. Saturday in Nottingham was another sold out show for the band, as most of their reunion shows have been, so whilst there is demand I imagine the band will keep coming back.

Lacuna Coil - Cardiff Review

As I am writing this, November is now over and I am back home from another lengthy weekend away taking in live music. Most of the weekend's fun took place in Nottingham, somewhere I had not been to for over a year, but it all started off in Wales - with a night at the Tramshed in Cardiff. November was quite busy - not as busy as October, but there was still a lot going on both locally and further afield. This past weekend feels like the last truly mammoth, multi-city weekend away of the year - although there are still two busy ones left before Christmas and 2026's already busy gig calendar takes over. Starting with Cardiff, then, it was nice to return to the Welsh capital for only the second time of the year. Considering that Cardiff is relatively close to home, it is not somewhere that I tend to go very often. I last visited the city back in January, when I saw Trivium and Bullet for My Valentine pack out the arena - but last night took me to the smaller Tramshed, a venue which is just on the outskirts of the main city centre. I had only been to the venue a couple of times before: once to see Y&T back in 2019 and again last year to see KK's Priest. It is a decent venue, but it has never been a favourite compared to other venues elsewhere of a similar size. Cardiff is not exactly brimming with great music venues, then, although I have always liked the arena there despite it being on the small side. It is a shame - but with Bristol so close, which has always been a great place for live music, it is easy to see why Cardiff lags behind somewhat. The reason for the trip to the city, then, was the Italian gothic metal five-piece Lacuna Coil. Despite being somewhat ahead of the curve when it came to that gothic/atmospheric metal sound fronted by both male and female vocalists, Lacuna Coil have never really grown to the size of many of their non-Italian peers. I feel like Lacuna Coil could have been huge and were teetering on the edge of becoming so in the mid-2000s, but their brief turn towards a more nu-metal and alternative rock sound likely put some of their original fans off - and the shift in tone did not catch on enough to really catapult them into the big leagues. That being said, though, Lacuna Coil have still managed to have a great career - and there are not many bands out there that genuinely sound like them, especially now. After floundering with their identity somewhat in the late 2000s and early 2010s, during the last decade or so the band have reinvented themselves as something of a heavier act, with groove metal riffing, gothic atmospherics, and the clean/harsh vocal double team of co-frontpersons Cristina Scabbia and Andrea Ferro. The band's last three albums are easily their best releases outside of their early heyday, too, with Sleepless Empire (which I reviewed here) their latest effort from earlier this year being another strong one. Despite having been a Lacuna Coil fan since around 2008, when I first saw them live with Bullet for My Valentine, they are not a band I have seen live too often. In fact, Friday night was only my third Lacuna Coil concert - and my first since 2019 when I caught them in Bristol. This was not for lack of interest, or opportunity, but for whatever reason the band's tours always fell during busy times. I was glad to be able to tie this latest Cardiff show into my Nottingham weekend, then, and it proved to be a good start to the long weekend. It was a cold walk down to the venue from where I was staying - but thankfully the potent showers which made their presence knows throughout the weekend held off during such.

The venue actually opened early, which is a rarity, but it was good to get in out of the cold. What was less good, though, was the over an hour wait before the support act started. This seems to be becoming more of an issue of late - and I would rather venues either opened later or shows finished earlier than have lengthy periods of waiting when inside. It is not as if it was easy for people to spend lots of money at the bar, either, as the Tramshed is one of those venues with no spare space. The best venues have space to move around at the rear and by the bars even when full - but the Tramshed is not such a venue. As such, most likely just felt penned in until Nonpoint took to the stage. Nonpoint have been around since the mid-1990s and were part of the original nu-metal scene. Nu-metal is one of the metal subgenres that I have the least amount of interest in, so I was not really looking forward to Nonpoint's set - but I actually ended up enjoying it more than I thought I would. It was certainly not a classic showing, nor will I be going out and buying all of the band's albums, but their 45 minutes on stage was not as objectionable as I thought it was going to be. The band did not seem as influenced by rap or hip-hop as some nu-metal bands are - nor were their riffs as mechanical. The riffs were certainly influenced by the core nu-metal sound, but the guitar tones and melodies felt a bit more typically metal - and the Dominican and Puerto Rican ancestry of some of the band members allowed for some Latina influences and the occasional Spanish lyric. These facets helped to set the band apart from the nu-metal crowd as a result - and there was quite a bit of energy throughout their set, with frontman Elias Soriano coming across as likeable and capable with a strong voice. As such, the band's choruses were generally on the stronger side - and, for a support act, they managed to conjure up quite a bit of energy. There were even a handful of guitar solos thrown in, a rarity in nu-metal, which also helped me to enjoy what they were doing. I could have done without the slightly leaden version of Phil Collins' In the Air Tonight, and I have generally never seen the mass appeal of that song in any case, but otherwise Nonpoint did their job and warmed the crowd up nicely for what was to come. Perhaps Nonpoint being on the bill in the first place is telling as to where Lacuna Coil see themselves in the metal scene - and they have probably always felt more at home with nu-metal bands than with acts like Nightwish or Epica.

It was around 30 minutes after Nonpoint's set that Lacuna Coil took to the stage. During the changeover I tried to find somewhere a bit better to stand - and ended up near the entrance doors much closer to the stage, which ended up being a good vantage point. When the lights went down and Lacuna Coil took to the stage, the next 90 minutes was filled with a 19-song set that was largely packed with newer anthems, including eight songs from the new album, alongside a handful of older songs. Sound-wise, the night was pretty good. The vocals and overall melodies were clear throughout, which was good, but the riffing was a little muddy. It was one of those mixes where the guitars and bass seemed to fill the same frequency range - so there was less definition than would be ideal. The driving drums, synth melodies, and vocal hooks were well-defined, though, and the crowd were onside from the off - ensuring that the show was blessed with a strong atmosphere. Despite songs from Sleepless Empire dominating the set, it was actually two songs from the band's previous album which kicked everything off - with Layers of Time and Reckless acting as a powerful one-two punch to get everything underway. Perhaps strangely, most of the new songs were held back to towards the end of the set. Hosting the Shadow was deployed early on, but otherwise it was older tunes which dominated here. Scabbia has always been known as a great singer, but I was really impressed throughout by Ferro. He was become a very powerful harsh vocalist in recent years, which Hosting the Shadow showcased, but even his older crooning in approach during Kill the Light sounded more powerful than it used to. The vocal balance between the two singers felt more finely struck, then, although some of the older tracks like the hooky Spellbound saw Scabbia dominate. Much of the set was riffy and full of grooves, as seems to be the band's current focus, but there were some more atmospheric songs, too. One of the overall highlights was Downfall, which allowed some some cleaner guitar melodies, atmospheric synths, and some of Scabbia's most emotive vocals. Lacuna Coil have never really been a guitar solo band, either, but Downfall was one of the songs in the set which allowed newish guitarist Daniele Salomone a chance to add some soaring melodic soloing. Much of the set felt heavy, though, with even some of the older tracks brought up to speed with the band's current sound. Heaven's a Lie was slower and heavier than it used to be - with Ferro adding some harsh vocals and the song turning into something a bit doomier overall. It allowed the gothic rock of the older tune to fit in nicely alongside new cuts like the slightly symphonic In Nomine Patris and a more rip-roaring Gravity. The main set then came to a close with the anthemic Nothing Stands in Our Way - during which Scabbia whipped up a bit of a sing-a-long. The whole crowd was singing along with the band - and it brought the main set to a powerful close. A four-song encore followed, and three of the songs included came from the new album. The heavier The Siege kicked the encore off, but it was perhaps the hooky, poppy I Wish You Were Dead which had everyone singing along. The song is likely to be a live favourite going forward, and for good reason, whilst Swamped was a rare older cut during the set's closing moments. Another new cut in Never Dawn brought the night to a close - and the good atmosphere soon spilled out onto the Cardiff streets as the crowd dispersed. The setlist was:

Layers of Time

Reckless

Hosting the Shadow

Kill the Light

Die & Rise

Spellbound

In the Mean Time

Intoxicated 

Downfall

Heaven's a Lie

In Nomine Patris

Blood, Tears, Dust

Gravity

Oxygen

Nothing Stands in Our Way

-

The Siege

I Wish You Were Dead

Swamped

Never Dawn

Given that Lacuna Coil are not a band that I have seen live too often, it felt like a treat to catch the Italians live on Friday for the first time in six years. The band were on-point vocally and the large crowd managed to keep the early energy carrying on throughout the whole show. Despite not being a huge band, Lacuna Coil maintain an important place in the metal scene - and they showcased all of their power this past weekend.