Giant's 'Stand and Deliver' - Album Review

When I reviewed the fifth album by the American AOR act Giant, Shifting Time (which can be read here), the piece became something of a rant directed at the Italian-based record label Frontiers Records. My CD collection includes a lot of releases from the label, so they have done a lot of good, but they have also been responsible for some of the blandest and thrown-together AOR and melodic rock in recent years - with seemingly endless albums coming out from any number of faceless and samey studio projects, which generally seemed purely vehicles for the songs that the label's in-house producers/songwriters did not want to use for their own bands. The odd gem has come out, and some of the 'supergroups' are worth the time, as I pointed out when I reviewed W.E.T.'s latest effort Apex (which can be read here), but a lot of it is subpar and could have honestly come from the same sessions. The label has done lots of great work with older bands, and it may have been that we would not have had newer albums from Whitesnake, Toto, and Blue Öyster Cult with out them, and just yesterday I watched the newly released Celebrating 50 Years: Live at the Ryman from Lynyrd Skynyrd which I really enjoyed. They have also been known, though, to trade in older bands with questionable line-ups - one of which over the years has been Giant. In fairness, the band's third album III, which featured a trio of original members including vocalist and guitarist Dann Huff, was a Frontiers product - but when Dann did not want to continue Giant, given his extremely comfortable current gig as a Nashville session musician, Frontiers kept the name alive with Dann's drummer bother David Huff, bassist Mike Brignardello, and what has become a rotating cast of singers and guitarists. No disrespect to Brignardello or David, who both made songwriting contributions to the band's classic albums, but neither were the driving force behind the band. That was always Dann, with keyboard player Alan Pasqua not far behind, so a Giant without either seemed somewhat pointless. 2010's Promise Land was not bad, though, with Dann still being involved as a songwriter and a guitar player on a number of songs - giving the album some credibility. Shifting Time, though, felt weak by comparison. Dann's contribution this time was a single guitar solo - and the album was largely just put together by current singer Kent Hilli, whom I like due his work with Perfect Plan, and former Frontiers go-to man Alessandro Del Vecchio. It did not feel like Giant to me - and it was essentially just another cookie-cutter Fontiers/Del Vecchio AOR release which had a few decent songs but no real identity. Three years have passed, though, and the band have tried again with sixth album Stand and Deliver - this time with new guitarist Jimmy Westerlund (One Desire) in place of John Roth. Dann does not appear on the album, but did contribute three songs, which I assume were old songs he never used based on the songwriting partners, and something just feels a bit stronger about this one. Westerlund's songwriting, guitar style, and tone is closer in spirit to Dann's, compared to Roth's anyway, and the songs feel a bit more 'Giant' - rather than just generic Frontiers fodder.

Funnily enough, Dann's songs are not the strongest cuts here - but their inclusion nevertheless helps the album feel a bit more authentic and in the vein of Promise Land. Hilli's delivery and Del Vecchio's keyboard approach also feel closer in spirit to classic Giant, too, and the first half of the album in particular is quite strong. It's Not Right opens the album with a pulsing keyboard melody, over which Westerlund soon lays down a hooky guitar lead - and the trademark Giant sound is immediately more audible than it was on the last album. I think it manifests more strongly on other songs, but there are shades of it here - and the mix of clean guitar melodies and chugging rhythms during the verses, whilst occasional synth flourishes and guitar leads dance around, allow for an involved sound. Hilli still manages to make himself heard over this mix of sounds - and he sounds great as always. He is perhaps one of the best modern AOR singers - and his performance on the last album was still good despite my overall views on it. The strong chorus is perhaps more Perfect Plan than Giant, which is not a massive surprise, but the mid-paced vocal hooks are still very memorable - and Westerlund's later screaming guitar solo is packed full of late 1980s goodness. The following two songs are perhaps the album's strongest cuts in my opinion - with the first of the two A Night to Remember really managing to channel the classic Giant sound in a big way. Westerlund is just a much better fit for this band than Roth ever was - and his songwriting contributions are likely one of the big reasons I find this latest album more enjoyable. Like the last song, this track is filled with screaming guitar leads - and the keyboard textures are much classier, too. Pasqua was always more of a jazz player, so generic AOR keyboards are really not needed when it comes to recreating the Giant sound. The subtler approach taken here, despite a few hooky melodies, is another big improvement. There just seems to be more of a balance in favour of the guitars this time, which was always what Giant were about. Again, this is down to Westerlund - and there is plenty of crunch throughout the track despite the smoothness that would be expected from a big AOR anthem. Hilli again delivers, and the chorus is one of the album's best. It picks up the pace somewhat compared to the rest of the song - and it really sticks in the brain after a couple of listens thanks to Hilli's strong melodies and the power of the rest of the band.

Hold the Night might be my favourite piece here overall, though, and it really has a strong Giant vibe. The opening shuffling, bluesy guitar melody is very much out of Dann's playbook - whilst the smooth bed of keyboards and Hilli's warm vocals that soon join in really hark back to those early Giant albums. Like many great AOR songs, the track tends to build slowly - with more low key verses building towards a bigger and more explosive chorus. What a chorus it is, too. There are a number of strong ones on this album but the chorus here really roars out of the speakers - with the smoothness and overall husky nature it goes for really channelling that classic Giant sound. Westerlund's guitar solo is excellent, too. It starts off slowly, with the band dropping the main groove somewhat - before he starts to shred in a high-octane yet melodic manner. Dense keyboards and plentiful backing vocals throughout help - but really this is a track that just does the basics right, and those closing guitar coda is also excellent. I Will Believe opens with some busy, laid back guitar playing - but once Hilli starts to sing this largely fades away, with a bed of keyboards instead backing him. Occasional guitar leads add colour, but the verses here are very much vocal-focused. It really seems as if the song is going to be a ballad at this point, and Hilli's delivery much backs this up, but once the chorus is reached the band kick back in in a big way and another feast of melodies is thrown at listener. It is a strident chorus, with tough power chords and the occasional screaming guitar lead - but the star here is Hilli who really showcases his vocal talents throughout the piece. The slower and heavier moments allow him to show different sides of his vocal style - whilst Westerlund is generally a bit more restrained here despite him still deploying a strong solo. Beggars Can't Be Choosers immediately rocks things up following the more dynamic previous song - with the pacy piece being a shuffling, bluesy rocker that creates plenty of energy from the off which is never let up as things progress. Westerlund's main riff does have some of Dann's style once again, and it sounds like a more high-octane version of Hold the Night's opening riff - but there is also a strong keyboard presence throughout. The bluesy guitar and the shuffle of the rhythm section does form the main basis for the song - but some pulsing synths early on help to provide some AOR flavour to what is more of a hard rocker overall, and some subtle organ playing later on also adds some grit. Perhaps unsurprisingly, there is another strong guitar solo here, too, with Westerlund channelling much more of a bluesy sound this time around to fit in with the song's overall vibe.

Following five generally harder rocking pieces, despite some slower moments, It Ain't Over Till It's Over is the album's first ballad - and it is a very typical 1980s style example. Opening with Del Vecchio's piano and Hilli's heartfelt vocals, the piece is a bit of a slow-burner - but, unsurprisingly, it builds towards its chorus. The chorus is a bit more explosive than the rest of the song, but it still maintains its strong power ballad vibe. Guitar crunch adds more to the chorus, and occasional acoustic guitar leads are utilised elsewhere, but generally this is more of a keyboard-led piece - with piano playing and some dense synth work creating a strong basis for Hilli's powerful vocals and the rest of the band. Westerlund uses his acoustic guitar for the solo, too, which is something a bit different - although as the song closes out he returns to his electric guitar for a great run of notes. The title track follows, and the crunching mid-paced rocker returns to something more typical of the album following the big ballad. The opening riff is powerful and pretty strident - but the bluesiness which often fills songs of this nature is not really present this time. The riffing is just strident hard rock in style - whilst the lead guitar moments are shredded and upbeat. As such, it stands apart from songs like Beggars Can't Be Choosers thanks to this more stadium-ready sound - but it is another song which I think actually channels the classic Giant sound quite nicely. The chorus in particular could have sat on one of those first two Giant albums and not feel out of place - whilst the overall strut and groove could have come from Dann himself. Time to Call It Love is the first of Dann's three songs - and this one was co-written by the late Mark Spiro as so many Giant classics were. I like the song, but I actually think that some of the other songs here are more classic Giant in spirit than this one. I have a feeling that all three of the songs Dann contributed to the album are old ones, so perhaps there were reasons they were never recorded previously, but this track is an enjoyable, mid-paced pop rocker. The problem I have with it, though, is that is does not really jump out. There is no big main riff or especially powerful vocal hook which really latches on. It is one of those slightly chugging mid-paced AOR tracks of which many exist - with limited riffing or driving musical motifs. Westerlund's solo is good as always, though, and some of the chorus hooks are decent - but compared to some of the best cuts here it feels a bit bland.

Holdin' on for Dear Life, co-written by the late Van Stephenson, another regular collaborator, is a bit more like it. It is a more energetic piece for starters, opening with a busy and enjoyable main riff, and it is a track which has grown on me quite a lot since I first heard it. Del Vecchio mixes organ and synth work throughout to back Westerlund's big guitar riffing and rhythms - but perhaps the star again here is Hilli. There are some strong grooves here that he really makes the most of with his vocal melodies - and the chorus is one of those which shifts up the tone somewhat part way through in a surprising and pleasing manner. It is a memorable song, then, with a powerful chorus and plenty of energy. Dann's last song here, also co-written by Stephenson, is Paradise Found - a smouldering ballad which is very reminiscent of the band's early work. Plentiful keyboards, a slow-burning beat, and ringing clean guitars create the core of the song's sound - but as is often the case with Giant there remains some crunch here. Westerlund's guitar rhythms add depth and a slight toughness, even if the keyboards and clean guitars tend to dominate, and the occasional guitar leads inject a lot, too. As is often the case with ballads, though, this is a singer's piece - and Hilli delivers the lyrics in his great, emotional style. The chorus in particular really oozes emotion - the smouldering nature of the musical backing and Hilli's voice joining together nicely creates something powerful. The album then comes to a close with Pleasure Dome - which opens with lots of synth work, before Westerlund takes over by adding some cinematic guitar leads. The song takes a while to open up, then, with this atmospheric intro taking a while to subside - but soon the rest of the band kick in and the track becomes another pretty hard-hitting mid-paced rocker. A main guitar riff recalls some of those bluesy moments from earlier in the album - and busy guitar playing largely remains a feature of the song throughout, with snaking grooves backing the verses to allow a powerful vocal performance to follow. Given the song's intro, though, the song does remain somewhat cinematic in places. It feels a bit bigger overall than many of the other similar tracks on the album - with the chorus in particular retaining some of that sound. Hilli's vocal melodies during the chorus really soar. They are not snappy as they are elsewhere - with big, drawn-out notes providing the main hooks which works well given that the song is an album closer. The lengthy guitar solo has a similar vibe, too, with a good mix of styles showcases throughout - but Westerlund largely focuses on longer, sustained notes rather than big shredding. The album ends on a high note, then, and overall Stand and Deliver may well be the strongest Giant album since Dann left the band. It actually channels the classic Giant sound at times and it is head and shoulders above the last one in my opinion - which could have been by anyone on Frontiers. Westerlund is the main difference. His guitar playing takes on Dann's classic style which helps to ensure those similarities remain - and I have ended up enjoying this album a lot more than I thought I would due to his efforts.

The album was released on May 16th 2025 via Frontiers Records. Below is the band's promotional lyric video for Hold the Night.

Little Feat's 'Strike Up the Band' - Album Review

It is always great when a veteran band that has not released anything new for a significant period of time puts out an album. When it comes to classic bands that are still active, I tend to hold those which have remained creative in much higher regard than those which have resigned themselves to playing the same handful of songs live year after year. There is very little to stop bands with large, established fanbases from putting out new albums apart from the band themselves - and part of the reason why bands like Deep Purple, Uriah Heep, and Magnum remain favourites is their prolific nature over the years. I particularly like it when a band seems to have a change of heart, and releases a new album after quite a significant break from doing so. Uriah Heep certainly fell into that category when Wake the Sleeper dropped in 2008 - but more recent examples include Kansas and Styx, who have both released some excellent new albums which are every bit as good as some of their classic work over the past decade following a long hiatus from recording. The reason I bring this up is because the California-based rock collective Little Feat have just joined this club - as they released their first album of all-original material since 2012's Rooster Rag last month. Whilst a 13 year gap is perhaps not as long as some, it has nevertheless been a significant wait for the band's fans - so much so that Strike Up the Band, the aforementioned new album, really is something to celebrate. I have to say, though, that I am no Little Feat expert. I only really started listening to the band a few years ago - and I am only really familiar with the band's classic 1970s albums which featured the late Lowell George. Whilst I am aware of some of the post-George material, I have not spent much time yet with any of those albums. This is something I expect to rectify soon, but this latest album has been a great entry point into the more recent world of Little Feat. The funny thing is, though, that I had no idea the album was due out. I happened to be in HMV a few days after the album was released and saw a copy of it there asking to be bought. After verifying that what I was holding was indeed a new album and not some kind of strange compilation or bootleg, I bought it - and the world of new Little Feat has been one I have been enjoying over the past month or so. Strictly speaking, though, Strike Up the Band is not the band's first album since 2012 - but it is the first album of original material. This is because the band released the Grammy-nominated Sam's Place last year, a collection of blues covers and one original, and the relative success of Sam's Place seems to have spurred the band on to release a 'proper' new album - alongside perhaps them wanting to showcase what their current line-up can do in the studio. Whilst both appeared on Sam's Place, this is the band's first 'proper' album to feature principal vocalist and guitarist Scott Sharrard (The Chesterfields; The Gregg Allman Band) and vocalist and drummer Tony Leone (Ollabelle; Chris Robinson Brotherhood) - who joined the band in 2019 and 2020 respectively. As such, Strike Up the Band is the first 'proper' album since 1972's Sailin' Shoes to not feature the late Paul Barrère - whom Sharrard replaced. Sharrard and founding keyboard player Bill Payne handle most of the lead vocals here, but Leone and long-time multi-instrumentalist Fred Tackett also contribute vocally.

Whilst I am not hugely familiar with the band's more recent work, Strike Up the Band feels exactly like what I expected Little Feat to sound like in 2025. The album feels cleaner than those classic albums, but the band's trademark swampy grooves, slide guitar, horn embellishments, and laid back vibe is very much present - with the current line-up a good mix of long-standing experienced heads and newer blood. The opening number, 4 Days of Heaven 3 Days of Work, showcases all of those facets clearly from the off - with a Leone drum break giving way to a shuffling guitar/Hammond organ riff which is soon augmented by some horns and guitar leads. Like much of Little Feat's material, the song swings along at a mid-pace, with Sharrard singing against a toned down version of the opening riff - with occasional slide guitar melodies and horn bursts adding colour. The band have often used vocal harmonies to their advantage, and the bluesy choral approach to the chorus helps to elevate it - making the simple chorus the first big hook here. Little Feat's songs are not always hook-fests, and the band's material tends to sink in over repeated listens thanks to the grooves, guitar firepower, and subtle vocal melodies. This song is no different, but the chorus does jump out from a hook perspective - and Sharrard really makes his presence felt later in the song with an explosive slide guitar workout. Those who love the trademark shuffle and groove of Little Feat will immediately feel at home here - and the prominent use of a horn section gives the track some class. Bayou Mama, which was co-written by Charlie Starr (Blackberry Smoke), sees Payne take the lead vocally. Payne's piano creates a rhythm which the rest of the song is built from - although the locked-in grooves of Leone and long-time percussionist Sam Clayton build on these piano melodies, whilst bluesy slide licks and a prominent bassline also do a lot of heavy lifting. Payne's voice may not be as strong as it once was, but he still sounds good throughout this album - and his keyboard playing remains excellent. Occasional organ moments are utilised here, too, but generally his boogie piano playing is what makes the song tick - even if the slide guitar likely shines the brightest thanks to a solo late on in the piece. There is also a piano workout as the song comes to a close, though, showcasing Payne's trademark barroom style. Shipwrecks returns the spotlight to Sharrard, and the piece is more of a typical southern rock-sounding track. There is less of an obvious groove here, with a more typical driving rock beat, tinges of country, and a fuller backing thanks to plenty of organ and the riffing of Tackett. Sharrard has a great voice for this kind of music, and his vocal performance throughout this album is one of its overall highlights. There is a smoothness to his voice which I like, but he still suits the band's bluesy, swampy feel - and his slide guitar playing is excellent, some more of which is thrown in later on following the song's second, laid back chorus.

Midnight Flight returns to the band's trademark groovy sound, but the pace feels a little speedier than is typical - which is helped by another prominent use of the horn section. The chorus is based around some Cajun-esque rhythms, which is not unusual for Little Feat, and filled out with some bluesy backing vocals from Kristen Rogers who embellishes Sharrard's lead vocals. The grooves of the song really make the best use of Clayton, whose percussion helps things really pop - filling in all the gaps in Leone's funky beat. Long-time bassist Kenny Gradney makes his presence felt, too, with some equally funky bass playing - with the horn section elevating the Cajun grooves with some melodies which recall that musical style. More traditional lead guitar moments and soloing are employed here - presumably allowing Tackett some time in the spotlight. Another more upbeat, and fun, tune is Too High to Cut My Hair. The horn section is utilised again here, with lots of big melodies during the intro, whilst the rest of the song is generally lacking in big riffs and musical moments until the ending instrumental workout - with the groove and simple chord progression enough to back the snappy vocal melodies from Sharrard. The chorus feels a bit more involved, with the horns coming back in and more of an atmospheric approach taken during part of it - with smooth backing vocals adding depth before the band crash back in proper and Clayton briefly takes over vocally with his trademark deep, growling voice. Slide and regular guitar leads later on see Sharrard and Tackett trading melodies back and forth - and the solo section is one of the album's most blistering overall, with a particularly fast-paced section seeing Leone unleashing a big fill behind it. There is also a saxophone solo from horn section member Art Edmaiston to close things out. Following Sharrard dominating vocally up to this point, the more laid back When Hearts Fall sees Payne singing once again - and the smooth track feels like a real throw back to the band's early days. Rogers again adds some bluesy harmonies during the chorus, but this song generally shows the more atmospheric and low key side of Little Feat. The drums provide a sombre beat throughout, whilst gentle guitar melodies and the occasional aching slide lead sit behind Payne's plaintive vocals. Payne's voice really suits songs like this, and he brings it to life nicely - with Rogers adding colour when needed. Subtle keyboard flourishes are utilised throughout, too, but this is not really much of a keyboard-heavy song despite the overall atmospheric feel - with the slide melodies and drumming feeling like the main touchstones here. The title track then sees Sharrard taking over again vocally - although the Lovell sisters from Larkin Poe also contribute significantly to the song in that regard. Their atmospheric vocal harmonies are all over the track, from the opening moments, and they suit the shuffling country grooves of the rootsy piece - with Tackett's mandolin often a prominent instrument. Melodic piano playing, including a solo mid-way through, and low-fi drumming give the song a suitably down-home feel - with slide acoustic guitar also thrown in as the song progresses to further emphasise such an approach.

Bluegrass Pines, sung by Payne, returns somewhat to that Cajun feeling described earlier - but this track is slower and swampier overall. Shuffling and percussive drumming alongside what sounds like accordion (although no one is credited with playing accordion so it could be keyboards) create some of the memorable musical moments during the piece - whilst additional acoustic guitar depth throughout is added by bluegrass singer Molly Tuttle. The band's trademark slide guitar approach returns here and there is a lot of Sharrard's slide playing during parts of the song - with the chorus in particular feeling pretty enhanced by the slide guitar. The busy acoustic guitar melodies and occasional piano flourishes help the song to create its own identity, though, and it is one that has grown on me since first hearing it. Disappearing Ink is another more southern rock-esque piece - with more of a brash guitar rhythm backing parts of the song alongside a more hard rock drum beat despite the song still feeling pretty smooth overall. Rogers again adds her bluesy voice to the song, bulking out the chorus nicely, with Sharrard again showcasing his ability to sing the blues pretty convincingly. Bigger, traditional guitar rhythms form the basis of this track, but Payne's driving piano playing is also present throughout - with Sharrard again laying down another strong slide solo later on. Some of the songs here are more lengthy and loose in the arrangement, but this track is more straight ahead in terms of such - making it more of  a fun, bluesy rocker. Love and Life (Never Fear) is a really smooth piece, with Clayton's percussion once again really shining here - and the opening slide guitar melodies are sweeter and less bluesy than is typical for the band. Sung by Tackett, the song reminds me somewhat of the overall sound of 1977's Time Loves a Hero - with its smoother, yacht rock sound on display. Tackett's voice is nicely suited to this sort of sound - and he also makes his presence further felt with some delicate guitar leads during parts of the song. Despite this smoother sound, though, there is still a lot going on. Payne's keyboard playing does a lot to create those yacht-esque grooves, with big piano notes often acting as a counter to the rhythm section, whilst the conga playing of Clayton perfectly builds on Leone's drumming. As the song progresses, too, the band get more intense in their instrumental performances - with Tackett launching into a big solo towards the end, whilst a somewhat psychedelic closing section features lots of piano. Dance a Little returns to Payne, with the track feeling somewhat upbeat and groovy despite his slightly restrained vocal performance. Rogers again adds some vocal power, with the chorus feeling quite big thanks to her efforts, whilst the track in general has plenty of depth thanks to everything that is going on. Pulsing keyboard melodies, plenty of acoustic guitar, and Tackett's trumpet playing all fill out the song nicely. There is no big horn section this time, but the lone trumpet melodies often work well on their own given the overall vibe of the piece - whilst Clayton's busy percussion can also be heard prominently during the song's chorus. It is one of those songs which really worms its way in after a few listens thanks to its plentiful grooves and intricate vibe.

Running Out of Time with the Blues, featuring Leone on vocals, is, as its title suggests, a blues piece. There is nothing especially original about it, but the raw, groovy blues piece is enjoyable - as nothing else on the album has really felt like this. There are no massive electric guitar riffs here, with the riffing being low key and unplugged in nature - with acoustic slide guitar adding lots of melodies here around Leone's vocals and low-fi drumming, whilst Payne adds some more barroom piano. The instrumental mid-section which moves back and forth between the slide guitar and the piano feels like a raw jam - and the whole song feels like one which came together quickly and organically. It is a fun addition to the album in that regard - and its short nature means that it does not outstay its welcome. The album then comes to a close with New Orleans Cries When She Sings - a somewhat more epic-sounding piece which moves through some different moods despite it not being especially long. Opening with Payne's Elton John-esque piano playing and vocals, the first minute or so is quite low key, and it seems as if the song is going to be a big ballad - but following this opening section the rest of the band crash in and the track morphs into another pretty funky rocker. More Cajun melodies are featured here, with the horn section providing plenty of accents and punctuation throughout, although Payne's driving piano remains the main musical focus throughout. Rogers again adds plenty of vocal backing here, throwing in some gospel-esque call-and-response vocals and ad-libs at times - whilst the hooky chorus sounds big thanks to her and Payne singing together. Payne's vocals sound a bit stronger here and that helps the song to be one of my favourites of his offerings here. It helps that he includes a piano solo part way through - although the horn section soon take over to provide more of a band-focused instrumental section. There is very little focus on the guitars here, with them generally relegated to the background, but the band's usual vibe is very much present - and the song closes out by returning to the slow manner in which it opened, which bookends things nicely to provide a tight coda. Whilst I cannot compare Strike Up the Band to any of the band's other more recent work, I have found a lot to like here. Sharrard really seems to have found a home in Little Feat and his performances throughout are a big part of what makes the album so enjoyable. Those classic Little Feat grooves are present throughout and the album channels a lot of what has always made the band great and unique despite all the line-up changes over the years. I hope that this album is a success for the band and that it leads to a bit of a late career resurgence - as I would like to hear more from his current line-up.

The album was released on 9th May 2025 via Hot Tomato Productions. Below is the band's promotional video for Too High to Cut My Hair.

Iron Maiden - Birmingham Review

Following a couple of quiet weeks after an extremely busy May, this past week saw my gigging attendance crank back life - with a trip to London earlier in the week to take in both Savatage and Jerry Cantrell, and a trip up to Birmingham this weekend to catch the legendary Iron Maiden on their latest world tour. Despite being a big hard rock and metal fan, and a pretty big lover of all things Iron Maiden, I have actually not seen Iron Maiden live that many times. For some reason, it took me until 2017 to see them live for the first time, which was also in Birmingham, and I last saw the band live in 2023 - this time in Nottingham. There have been plenty of other opportunities for me to see Iron Maiden live over the years, but either I decided against making the effort or the shows just did not come at opportune times. I also remember that, during the early years of my Iron Maiden fandom, the band were in a phase were one big stadium show or a festival headline appearance was considered sufficient as far as touring in the UK was concerned. As has often been the case with Judas Priest, Iron Maiden have sometimes been guilty of touring everywhere but their home country - although in the past decade-plus or so this, thankfully, seems to have changed. A handful of UK shows are generally included as part of a wider European tour these days - which has led to more opportunities for me to see them. I have not been to every tour in recent years, but I have taken the opportunities which I could - and both of those previous shows were memorable thanks to the band's excellent performances, varied setlists, and focus on newly-released material. When the band's current tour was announced, though, it was clear that it was going to be different. Whilst they have undertaken themed, older material-focused tours before, usually between new album-focused tours, generally they have been themed around particular album/tour setlist from the past rather than attempting to present the 'best of' Iron Maiden - but this current tour, which focuses on the albums from 1980's Iron Maiden to 1992's Fear of the Dark, essentially promised to be a 'best of' of the band's classic period. The tour feels like the band's first genuine 'best of' tour without any sort of overriding theme - perhaps suggesting that they wanted to play some of these big tracks at least one more time. Iron Maiden do not seem to be slowing down, and there have been no genuine talks of retirement, but they must be aware that they likely do not have all that many big tours left - so a celebration of their heyday likely seemed a good idea. A few UK shows were included in the band's wider European run - with the show in Birmingham making the most sense for me. The Utilita Arena, in the city centre, is generally a great venue for larger shows - and it is one of the better arenas in the country for sound I have generally found. It was also the venue in which I first saw Iron Maiden live - so it made sense to make the trip back to the Midlands. The traffic up from Devon was not ideal, and poorly signposted diversions to complete the last couple of miles of the journey made travelling to the show less than ideal - but following checking into the hotel and dinner in Wetherspoons it was soon time to head to the venue for the night's entertainment.

Due to spending a bit of time in the pub beforehand, I took my seat just as the night's support act The Raven Age were starting their 45 or so minute set. Regular attendees of Iron Maiden and British Lion gigs are likely somewhat tired of The Raven Age and nepotism by this point, given how often they have been booked to open for both bands, but, in fairness, they are a band that I tend to like the more I am exposed to them. I remember seeing them open for British Lion many years ago and thinking that they were pretty bland, a view I largely agreed with when I also saw them opening for Alter Bridge. Seeing them open for Tremonti more recently, though, was more enjoyable - and I quite enjoyed 2023's Blood Omen (which I reviewed here) when it came out. The band's older albums seem to be hard to track down, so I have not explored further, but this opening set was probably the strongest from the band I have heard to date - with frontman Matt James sounding powerful throughout and Tommy Gentry (guitar/vocals) a real force. When I last saw the band, I think that Gentry was either just filling in or had only just joined the band - but three years on he has made the second guitar spot his own, taking the vast majority of the solos throughout the set with fellow guitarist George Harris largely sticking to riffs and the occasional lead. Being familiar with Blood Omen, there were some songs in the set I knew, such as the ballad The Journey and the melodic Serpents Tongue, but I think a few new songs were included alongside some older cuts. I am still not sure that I would call myself a proper fan of the band, but I certainly think more highly of them than I once did. They have certainly matured into a strong band and their songwriting has improved significantly over the years. The lack of big choruses turned me off before, but the Blood Omen material includes a number of decent choruses - and the new songs played, too, also seemed very melodic. Gentry's guitar solos were also a big improvement, too, and overall the band just seem so much more assured and confident these days - having undertaken much more touring under their own steam, allowing the links back to Iron Maiden to weaken. I can understand, though, if some Iron Maiden fans feel that The Raven Age have been forced on them a bit too much over the years - but they are a band standing on their own these days and, following some line-up changes and upping their game overall, they are a decent addition to the UK metal scene.

Half an hour or so following The Raven Age's set coming to a close, the familiar strains of UFO's Doctor Doctor could be heard throughout the arena - and following the crowd singing along to Iron Maiden's perennial intro music the lights went down and the old instrumental The Ides of March filled the PA. It was clear from the off that a lot of effort had been put into the production of this tour, with the quality of the visuals on the screen behind the band being excellent. So often there is little effort put into this side of a show, particularly from older bands, but Iron Maiden really upped their game in terms of digital production this time - with the opening crawl of London then giving way to a big picture of mascot Eddie as the band launched into opener Murders in the Rue Morgue. Whilst the sound was perhaps a little boomy during the first number, things soon levelled out and the six-piece powered through a 17-song, two hour set with ease - bringing a number of their best-loved tracks to life. Particular praise should be given to new drummer Simon Dawson, who acquitted himself excellently - perhaps adding a tougher edge to the band's trademark groove. The fast-paced Murders in the Rue Morgue was an excellent way to open the show, and the following three tracks also came from the Paul Di'Anno era - ensuring that the band's much-loved early albums were well-represented. Steve Harris' (bass guitar/vocals) big bassline heralded the introduction of the punky Wrathchild, but it was perhaps the rarely-played Killers that was the first real early highlight - with the rollocking riffing of the band's three guitarists and frontman Bruce Dickinson's well-preserved vocals carrying the piece. Dickinson did not seem fussed that so much Di'Anno era material was included, with the first epic of the night Phantom of the Opera seeing him really get his lips around the wordy and fast-paced lyrics - whilst leads and solos from the guitarists flew back and forth. The bulk of the set was made up of Dickinson era material, though, with the evergreen The Number of the Beast coming surprisingly early in the set. Considering the nature of the previous Iron Maiden shows I had been to, there were actually quite a few staples I had not seen the band do live before. The Number of the Beast was not one of them, but 2 Minutes to Midnight was - and it came in the middle of an excellent three-song suite of material from 1984's Powerslave, which kicked off with the title track and ended with the proto-progressive metal epic Rime of the Ancient Mariner. The lengthy piece was one of the set's overall highlights - with the band's dynamics on full display. Dickinson went from a high-octane delivery to something more low-key depending on the vibe at the time - and the back and forth between Adrian Smith (guitar/vocals) and Dave Murray (guitar) was excellent.

The upbeat good time of Run to the Hills, which Dawson added a few interesting drum twists to I thought, was another I surprisingly had never seen the band do before, and it allowed the crowd to really belt the lyrics out alongside Dickinson, before another highlight in the form of Seventh Son of a Seventh Son saw plenty more instrumental fireworks during the lengthy closing section. It was a piece which really showcased the band's progressive side, which has been expanded upon much more significantly in recent years, with atmospherics and cleaner guitar leads compared to their usual more screaming NWOBHM approach. Whilst there was not a song played that could not either be considered a genuine classic or a real fan-favourite, I think that it is fair to say that what followed were real crowd-pleasers. The Trooper saw Dickinson dressed in his trademark redcoat attire, whilst a large Eddie walked the stage and battled the guitarists with his sword. Hallowed Be Thy Name, another track I had not seen the band do, was then wheeled out, with dynamism and shredding aplenty - with the closing section being particularly high-octane. Whilst I am sure that many in attendance had experienced the song live many times before, as it was my first time it really hit home. Whilst I have always liked the song I am not sure that I hold it in as high regard as most do - but it really came alive on stage, and the images on the screen and Dickinson's prison cell set only enhanced the overall vibe. The main set then came to an end, as always, with Iron Maiden - and the scrappy piece felt a little rough and ready following the masterful epics which came before it, but it is a high-energy song that generally hits the spot live. It also featured my favourite piece of video, which featured Eddie leering over the band with a pretty convincing 3D effect. Following a brief step off the stage, the sound of Spitfires could be heard - and Winston Churchill's famous speech soon filled the room. This heralded the arrival of Aces High, which was perhaps my first favourite Iron Maiden song. It was yet another which I had not seen the band do live - so it was a treat to finally hear it in person. It was probably the track which I felt that Dickinson struggled with the most, though. His voice is in great shape, but the song's constant high notes must be difficult - and he did feel a little strained, although it did not harm the overall performance. As if to reinforce his power, though, the following dynamic Fear of the Dark included some of his best vocals of the night - and it also allowed Janick Gers (guitar) some time in the spotlight. Given that most of the songs played predated him joining the band, he was largely relegated to being a rhythm player most of the night - with limited soloing opportunities. He shredded his way through Fear of the Dark, though, but sadly time was up on the set - and when Smith launched into the intro to Wasted Years the place went wild one last time. It seems to have become the band's go-to ending track in recent years and it works well as such - with the evening coming to a powerful and melodic close. The setlist was:

The Ides of March

Murders in the Rue Morgue

Wrathchild

Killers

Phantom of the Opera

The Number of the Beast

The Clairvoyant

Powerslave

2 Minutes to Midnight

Rime of the Ancient Mariner

Run to the Hills

Seventh Son of a Seventh Son

The Trooper

Hallowed Be Thy Name

Iron Maiden

-

Aces High

Fear of the Dark

Wasted Years

Despite the heat in the room, which was really quite stifling at times and quite unpleasant, Iron Maiden showcased why they continue to be one of the world's premier metal bands. Whilst the band do not seem to be slowing down, this tour, which comes 50 years following their initial 1975 genesis, feels like a celebration of all things Iron Maiden during their heyday and most successful period. With limited tours left, one big 'greatest hits' trek is no bad thing - and I welcomed it given that there were quite a few classics I had not seen the band do live before. It was the sort of set which was made to sing along to and plenty obliged - with a strong vibe throughout that matched the band's power.

Jerry Cantrell - London Review

Earlier this week I found myself in London, once again going to two gigs on the trot. This is something which I have done a lot over the years, but 2025 seems to have been particularly busy for such - and I am starting to wonder if I need to start scaling back somewhat! The amount of travelling and the lack of sleep which come with these longer trips away is starting to have more of an impact - but two nights away is often more economical than one, and I have to remember that I generally look back on such trips with fondness. Even if I am still feeling the effects of my trip away earlier this week, I already know that it was worth it. My previous post on this blog detailed the first of the two gigs the trip took in, which was a potential Gig of the Year candidate thanks to Savatage's first UK show since 2002, whilst this post deals with the second of the two nights - which saw Alice in Chains' Jerry Cantrell bringing his solo band to the O2 Forum in Kentish Town, just after delivering at Download Festival over the weekend. Whilst Alice in Chains are still active, in recent years Cantrell seems to have dedicated more time to his solo career than the band with which he made his name. Alice in Chains have not released an album since 2018, but Cantrell has released two solo albums in the last handful of years - with 2021's Brighten and 2024's I Want Blood joining the two solo albums he released in 1998 and 2002 during a period of hiatus for Alice in Chains. Since the pandemic, Alice in Chains have toured on and off - but there has been little talk of a new album, with Cantrell instead ploughing much of his energy into the two aforementioned solo albums. With Alice in Chains now seemingly on hiatus again due to drummer Sean Kinney's health issues, Cantrell is likely putting all of his energy into his solo career - and I Want Blood could likely pass as an Alice in Chains album for the most part, even if the more southern rock-inspired Brighten feels a little different. Cantrell's solo albums are very much cut from the same cloth as Alice in Chains, then, so transitioning between the two camps is likely quite easy for him. Cantrell and Alice in Chains have both been regular visitors to the UK over the years. I saw Alice in Chains back in 2019, and they were excellent, and Cantrell last came to the UK as a solo artist in 2022. I did not go to that 2022 show, which was also in London, but when this most recent London show was announced, as it tied in with the Savatage show, I decided to get a ticket. As I had not been keeping up with Cantrell's solo albums, picking up a ticket seemed like an excuse to really kick-start my appreciation of his solo catalogue - and the O2 Forum is generally a pretty good venue as long as you do not try and stand at the back. Following a day in London, then, I headed down to the venue where an already large queue had formed. Thankfully, getting into the O2 Forum is always smooth and quick - so it was not long before I was out of the blazing sun and in the relative cool of the venue, although it soon warmed up as a large crowd turned out to catch Cantrell and his excellent backing band.

Before Cantrell took to the stage, though, the growing crowd was treated to half an hour or so of music from the Australian gothic duo Vowws. Fleshed out by a bassist/keyboard player and a drummer, the duo played a somewhat industrial take on 1980s gothic rock - with off-kilter beats, strange synths, and duelling male/female vocals. Both the guitar player and main keyboard player sang, with perhaps slightly more focus on the latter and her somewhat downbeat vocal style, and this led to some interesting back and forth between the two - whilst jangly 1980s guitar melodies and sparse synth melodies generally made up the musical backing for the vocals. The rhythm section had a bit of  Nine Inch Nails edge at times, particularly the way that the drummer played, but the overall sound was not as spiky nor as metallic - as the duo's sound was generally quite cold and sparse overall. I do not mind the occasional blast of full-on goth such as this, but I do not think that Vowws did all that much for me. I certainly did not hate them, and I found their set quite interesting thanks to the beats and the various synths employed, but the songwriting overall did not feel that tight - nor was it especially melodic. The duo's songs were very downbeat and atmospheric, though, so perhaps writing strong melodies is not really their aim - but it was generally the music rather than the vocal melodies which interested me, although it did not help that the vocals were sometimes a bit low in the mix. It was hard to tell what the crowd at large was thinking about the duo, too. The crowd was generally a pretty rabid one, as was later seen, but during Vowws I am not sure that most really knew what to make of what they were hearing. They did not seem like a natural pairing for Cantrell's brand of grungy hard rock/metal - although the downbeat nature was somewhat comparable it could be said. It probably worked in the duo's favour, too, that they only had half an hour to play with. As such, they were not on stage long enough to really outstay their welcome - and the last couple of songs certainly received stronger receptions than the rest. Perhaps some were coming around to Vowws' sparse, mournful sound after all. I think that it is fair to say, though, that Vowws were not for me - although I appreciated that they were attempting to do something different despite some very clear influences from the past being on display. I am sure that with some crowds they would go down really well - but I am not sure that a rock/metal show was the right fit.

Half an hour following Vowws' set, the lights went down again and Cantrell took to the stage with the four musicians which make up his current live band. As I mentioned earlier, the crowd were rabid - and I was not prepared for how hard some were going to go, especially given how slow much of Cantrell's music is. There was plenty of singing throughout, so there was a strong atmosphere, but there also seemed to be a few in attendance whose only experience of live music was likely their yearly trip out of the house to Download whereby their antics can get a bit lost in the huge crowd. Some did not really know how to behave at a show such as this - and the amount of pushing and shoving going on was not really in-keeping with the overall mood of the night in my opinion. This was particularly apparent from the opening notes of the slow-burning Psychotic Break, which kicked things off. The depressing number from one of Cantrell's older solo albums was, even for him, a mournful way to open a show - but it set a suitable tone before the more energetic Them Bones ramped up the atmosphere. This was the song which the day trippers really went crazy for. It is an energetic rocker, but some treated it as if Slayer were on stage - and it all just seemed bit much really. The song rocked, though, and it was one of six Alice in Chains numbers played throughout the night - with much of the focus instead turned over to Cantrell's solo albums. The song also introduced former The Dillinger Escape Plan vocalist Greg Puciato - who provided harmony vocals throughout the night and generally took the lead on the Alice in Chains songs. He harmonised well with Cantrell throughout, recreating the albums' vocal harmonies nicely, and the overall sound mix during the show was good. Cantrell sounded strong vocally, and his guitar playing was full of the dirty, bluesy power he is known for - whilst his band was gritty when needed and more subtle elsewhere. More anthemic solo numbers such as Vilified and Cut You In brought the best out of the band, with Stone Sour's Ray Mayorga (drums) in particularly standing out thanks to some powerful and hard-hitting drumming - whilst slower pieces such as Atone and Siren Song allowed for a more dynamic approach. Man in the Box later roused the day trippers back to life, too, as they only seemed really interested in the Alice in Chains classics - although in fairness the aforementioned Cut You In, which was a single back in the day, and the bassy rumble of I Want Blood also elicited strong reactions. The atmosphere was good and appreciative throughout, with those who were interested in everything singing along, whilst the over-the-top boisterousness was largely reserved for the Alice in Chains numbers - which I think says it all really. Even really downbeat Alice in Chains numbers like Down in a Hole had some near me jumping around like monkeys in the zoo - and it started to become really annoying being constantly bashed into whilst dirgy grunge ballads filled the room. I have to look past this, though, because Cantrell and his band put on a strong showing - and the main set closing with the more melodic Angel Eyes and the evergreen Would? really showcased his talents. A three-song encore followed, with a somewhat rare outing of Alice in Chains' Hate to Feel kicking it off - before the more country-tinged Brighten and the classic Rooster brought Cantrell's 90 or so minutes on stage to a close. The setlist was:

Psychotic Break

Them Bones [Alice in Chains material]

Vilified

Afterglow

Atone

Siren Song

Man in the Box [Alice in Chains material]

Cut You In

My Song

Off the Rails

I Want Blood

Down in a Hole [Alice in Chains material]

Had to Know

Angel Eyes

Would? [Alice in Chains material]

-

Hate to Feel [Alice in Chains material]

Brighten

Rooster [Alice in Chains material]

Despite the behaviour of a few, I had a good time with Cantrell and his band on Tuesday night in London. Whilst I would consider myself more of an Alice in Chains fan than a fan of Cantrell as a solo artist, I have been really enjoying diving into his solo catalogue over the past few months - and he remains a great songwriter that straddles genres with ease. The setlist was great, covering all of his solo albums and some Alice in Chains classics - and the show was certainly worth the effort, even if Savatage the night before is always going to overshadow it.

Savatage - London Review

A couple of years ago I would have never believed that I would be sitting here writing this particular concert review. I have seen many bands live in my time, and get to between 40 and 50 gigs most years, but there are some bands that I have resigned myself to the fact that I will never see live. Generally this is because the band no longer exists, but there are other bands that, for whatever reason, just never seem to visit the UK. I have managed to see most of my favourite bands live over the years, and will finally catch The Doobie Brothers live next month, but I honestly never thought that I would see the American metal legends Savatage. This was, simply, because the band essentially had not existed since 2002 - long before I was aware of them. I cannot remember exactly when I got into Savatage, but it was likely during the beginning of the 2010s. The first album I heard was 1989's Gutter Ballet - and from there I picked up some of the band's other albums. It was probably not until more recent times, though, that I became a much bigger Savatage fan. I stuck to the same handful of their albums for a while, but a couple of years ago I started to make a big effort with the band again - and over the past year or so they are likely one of the bands that I have listened to the most. Whilst this more intense listening period was taking place, too, there were rumours of activity within the Savatage camp. The band reunited in 2015 for a one-off performance at Wacken Open Air, as part of a joint show with successors Trans-Siberian Orchestra, but that reunion was seemingly only ever intended to be a one-time affair. Interviews with various band members over the years suggested that they would like to do more shows, and even record new music, but that other endeavours - particularly the live juggernaut that Trans-Siberian Orchestra is in America each Christmas period - were holding them back. The health of the band's founder, leader, and frontman Jon Oliva was also frequently in doubt. In recent years he has recovered from a stroke, COVID-19, and a spinal injury - only to be diagnosed with multiple sclerosis and Ménière's disease last year. It is unclear exactly when Savatage reunited, but Oliva confirmed that a new album was being worked on in 2023 - and live shows were announced last year. The album is yet to materialise, and Oliva's health issues have likely contributed to this delay, but clearly not wanting to delay the band's reunion any further Oliva gave the rest of the band his blessing to tour without him. Whilst this is, of course, a shame, Oliva had largely taken more of a backseat in Savatage later on in the band's career - with later-era frontman Zak Stevens very much a big part of the Savatage legend. With Oliva still working away behind the scenes, then, five long-term Savatage members revived the band back in April in South America - and are currently on a short European run which includes both festival sets and headline shows. Thankfully the band decided to return to the UK - with a show at the O2 Shepherd's Bush Empire included. I, of course, snapped up a ticket immediately - and that intense diving into the band's catalogue previously described only deepened over the months leading up to Monday's gig.

Given the rarity of the show, the Shepherd's Bush Empire was packed - and when I got to the venue around 30 minutes before it opened there was already a pretty long queue forming. Despite this, though, I managed to get pretty close to the stage once in the venue and by the time the evening's sole support act took to the stage the atmosphere was already pretty good. Savatage later played a pretty lengthy show, but before that the German power metal act Induction warmed the crowd up with around 45 minutes of melodic and enjoyable music. I was familiar with the band in name-only, but I had not really heard any of their music before the show. Despite perhaps not being as into power metal as I once was, it did not take me long to fall in line with Induction - and I found myself enjoying essentially each song played. Formed around Tim Hansen (guitar/vocals), the current Induction line-up seems to be a relatively new construction - with only bassist Dominik Gusch appearing on the band's last album with Hansen. I was familiar with frontman Gabriele Gozzi, though, having previously seen him with Temperance - and it was his performance which generally kept me interested. Induction are one of those power metal bands that rely heavily on keyboards but do not employ a keyboard player. With the exception of some high-octane guitar solos, then, the riffing from both Hansen and fellow guitarist Justus Sahlman was generally relegated to the background, whilst synths and symphonics filled the speakers, but the big voice of Gozzi and his strong stage presence kept me entertained. Big chorus after big chorus hit the large crowd - and the sound mix was generally pretty good, although the band on the whole seemed a little quiet. The vocals cut through the mix nicely, though, and this meant that each hook and chorus managed to impress the crowd. It was not just me that seemed to be enjoying myself, too, as the vibe in the room generally seemed pretty good throughout the band's set. Towards the end there was even some singing along - and a cover of Europe's The Final Countdown did elicit a bit of a reaction early in the set. In truth, though, I would have preferred another original to have been played. The cover probably did get some onside, but I am not sure that it was needed - and the smooth choruses of Induction's own material seemed to be doing the job, alongside some shredded solos from Hansen and Sahlman. With a third album due later in the year, which will be the first to feature the current line-up, new single Beyond Horizons was played - but perhaps some of the overall highlights were songs from the band's last album, including the soaring I Am Alive and the closing anthem Queen of Light. I will clearly need to check out 2022's Born from Fire, then, and I will also look to pick up the band's third album whenever that is due out. I cannot say that I was expecting too much from Induction, but I ended up enjoying their set a lot - and I am looking forward to hearing more from them going forward.

It was only around 25 minutes after Induction's set finished that the lights went down again and the seven musicians which currently make up Savatage as a live entity slowly took to the stage - opening with the delicate piano strains of The Ocean. This opening instrumental, which also included a snippet of City Beneath the Surface, set the tone for the rest of the night - and by the time Stevens sang Welcome it was clear that the show was going to a be special one. It was a night in which the crowd and the band were one - with each song being sung back at the band loudly. Given who currently makes up the band, it was unsurprising that much of the set was culled from the Stevens era - with 1997's The Wake of Magellan featuring the most. With The Ocean and Welcome both being short scene-setters, the set really felt like it came alive proper during Jesus Saves - and the hard-hitting rocker showcased the power of the current version of Savatage. A loud and clear sound mix helped, but Stevens sounded as good as ever and the back-and-forth between guitarists Chris Caffery and Al Pitrelli was heavy and full of high-octane leads. With two keyboard players, new faces Paulo Cuevas and Shawn McNair, there was little, if any, reliance on backing tracks, too, and the band were well-drilled and extremely tight despite their limited recent live experience. Despite the setlist largely focusing on the later, more theatrical, albums, those wanting to hear some older classics were also well-sated thanks to an early inclusion of the epic Power of the Night - and once the iconic riff filled the venue the place went wild, and the singing during the chorus was just one of many instances of such during the evening. In truth, picking out highlights is hard as the show overall was so fantastic. Each song was as good as the one before it, but another early highlight was a rendition of the lengthy The Wake of Magellan - with another huge chorus sing-a-long. It was also a song which showcased how tight the band were when it came to multi-part vocal arrangements. A handful of songs featured such, but this one really stood out - with all of the band, bar drummer Jeff Plate, singing intricate backing vocals which often countered what others were singing. This all looked to be being done live - and the tight mix allowed intricacies like this to shine throughout the night. It was not just vocally where the band impressed, though. The Storm was later essentially just a showcase for some slow-burning and emotional guitar playing from Pitrelli - whilst Turns to Me which followed showed the band's dynamic approach, with quieter and riffier moments sitting side by side.

Given Savatage's complex and theatrical sound, though, many of the songs played showcased such a dynamic approach. The set never really felt like it sat in once place for too long - and the musicians on stage made bringing this material to life seem effortless. Stevens deserves a lot of credit for this, too, as his emotional and powerful vocal delivery really pulled everything together. His voice barely seems to have aged since the 1990s - and the soulful, bluesy Handful of Rain allowed him to showcase a somewhat more moody approach. Whilst most of the material played were songs which he originally sung, there were songs played which Oliva sung originally - and he did a great job on those despite lacking Oliva's rasp. Power of the Night earlier on had sounded as good as ever - as did a rare outing of the more stadium-ready Strange Wings. Perhaps to provide something of a contrast, though, during a medley of material from the Dead Winter Dead album, Caffery did sing in place of Oliva during a portion of I Am which was played - but the shimmering Starlight saw Stevens sounding great, whilst the closing instrumental section of the medley saw lots of classically-inspired soloing. The same album's title track was then played in full - making Dead Winter Dead the album with the second-most representation in the set. By this point, the band had already played a lot of material - but there was still quite a few big highlights to come. As if making a point to emphasise the strength of The Wake of Magellan, its epic-length closer The Hourglass was wheeled out towards the end - which was another powerful moment with plenty of singing from the crowd and more overlapping vocal arrangements from the band. The closing moments which saw Stevens accompanied by just the piano were particularly powerful - and this led to the band taking a brief step off stage to allow a video of Oliva singing the first verse and chorus of Believe. The band came back to join in following this first chorus - and the overall rendition, with Oliva and Stevens trading vocals virtually was very emotional. It was good that Oliva was able to be involved in the show in a small, pre-recorded way - and the crowd reacted particularly well to the soaring ballad. There was not a huge amount of time left by this point, but two more big anthems rounded out the main set - with the dramatic Gutter Ballet and the song which introduced Stevens to the world Edge of Thorns proving to be a formidable closing duo. Following a brief pause, where the cheers shook the walls, the band came back for two more - with a rare outing of the fast-paced Nothing's Going On being a surprise addition to the set, before the band's signature anthem Hall of the Mountain King proving to be one last sing-a-long and highlight in an evening which had been rammed full of memorable moments. The setlist was:

The Ocean/City Beneath the Surface

Welcome

Jesus Saves

Power of the Night

Another Way

The Wake of Magellan

This Is the Time (1990)

Strange Wings

The Storm

Turns to Me

Handful of Rain

Chance

Starlight/I Am/Mozart and Madness

Dead Winter Dead

The Hourglass

Believe

Gutter Ballet

Edge of Thorns

-

Nothing's Going On

Hall of the Mountain King

Whilst I am sure that some would have preferred to have heard more material from the earlier albums, in my opinion the setlist was a perfect representation of where Savatage are today. Savatage morphed into a more progressive and theatrical band over the years, largely with the help of those involved in the current line-up, so focusing on the back end of the catalogue was the right move in my opinion. The amount of singing going on suggests that many in attendance agreed, too, and it was just a real treat to see Savatage live at all - which is not something I ever expected to do and I would not be surprised if the gig is one of the best of the year come December. It is unclear what the band's long-term plans are, or whether there will be other opportunities to see them live, but I am happy that I got to see them on Monday - and I am looking forward to hearing the new album whenever it is ready.

Moon Halo's 'Trichotomy' - Album Review

Whilst it may no longer be quite the case, at one point it really seemed that much of the UK's best modern progressive rock could be traced back, at least in part, to the city of York. A sadly departed friend once joked that there must be something in the water up there - and it often seemed as if the next best progressive rock release was coming from someone with a connection to the city. I do not quite get the same feeling these days, but given my enduring love for Mostly Autumn I will always consider the city a musical wellspring - and, in truth, many of the other bands and projects which used to release those anticipated albums were often somewhat linked to Mostly Autumn. Sadly a lot of those bands and projects no longer seem to exist, and solo work from those involved has slowed, too, but one act which is still active is Moon Halo - an atmospheric and song-based progressive rock band formed around the core trio of vocalist Marc Atkinson, keyboard player Iain Jennings, and bassist David Clements. Both Atkinson and Jennings are long-time members of the York scene, the former as a member of Gabriel and Riversea and the latter as a member of Mostly Autumn and Breathing Space - with both also operating as solo artists. They have both been involved in a large number of albums over the years - many of which form a part of my vast music collection. I am generally more familiar with Jennings' work, given how much I love Mostly Autumn, but I have also followed Atkinson for a while - with his work with Riversea particularly standing out. The two more recently joined forces with Clements, who had worked with Atkinson a lot over the years, and formed Moon Halo - which debuted back in 2020 with the excellent Chroma (which I reviewed here). I listened to the smooth and somewhat symphonic album quite a lot during the following pandemic - and the pandemic also led to the creation of the follow-up Together Again (which I reviewed here) which came out in 2022. I enjoyed both of the albums quite a bit, and I am always going to support the York scene - so when another Moon Halo album was announced I knew that I would have to check out it. Dropping last month, then, Trichotomy is the band's third album - and it pretty similar sound-wise to the last two. Jennings' keyboard playing tends to dominate the soundscape, and the band seems to be his main outlet from a songwriting perspective these days, but Atkinson's heartfelt and emotional vocal delivery is just as key to the experience as ever. Fleshing out the trio as before, too, are guitarist Martin Ledger (Stolen Earth) and drummer Alex Cromarty (Mostly Autumn; Halo Blind) - very much keeping Trichotomy in line with the other two albums personnel-wise. Ledger's big guitar moments feel less prevalent this time, though, with this album perhaps being more atmospheric than ever - with more emphasis on soundscapes and vocal melodies and more explosive musicianship. This is not necessarily a bad thing but, as a result, Trichotomy feels more of a grower than what has come before.

Opening with Siren Song, Jennings' piano melodies slowly fill the speakers - and the lack of any synth backing actually takes me back to those early Mostly Autumn albums briefly. Once the melodies speed up, though, this feeling fades - and a piano hook becomes apparent as Ledger's guitar joins in. The song gets underway proper once Cromarty's drums kick in, though, and Ledger transitions to a tougher guitar tone - adding a slightly crunchy backing to Jennings' aforementioned piano melody. This melody forms the main musical hook of the song - with it sitting behind Atkinson's vocals during the verses whilst the guitars and bass add a subtle backing. Atkinson may not have the biggest vocal range, but his warmth as a singer always means that his performances are full of emotion - and there is a smoothness to his delivery which suits Jennings' songwriting, with subtle vocal harmonies during the chorus only enhancing this vibe further. Perhaps showcasing who drives this project, Jennings later takes a lengthy synth solo - which is interspersed with organ stabs, showcasing differing keyboard tones and styles early on. The subtle crunch from the guitars and Cromarty's relatively up-tempo drumming helps to give the song a bit of a kick, too, and Ledger also closes things out with a brief guitar solo. Empires Burning opens with some programmed noises and beats, over which Jennings soon adds a distant synth melody. Like the piano hook from the last track, this synth melody becomes quite a focus throughout - and it dominates the verses behind Atkinson's vocals, whilst Ledger adds some crunchy guitar rhythms to give them a slightly heavier edge. This crunch is less present during the chorus, despite some big guitar chords coming and going, which is more swirling and atmospheric overall - with a big synth soundscape and mournful piano melodies taking over. Moon Halo are never a heavy band, but their use of crunching guitar rhythms occasionally does help to add a bit of a punch when necessary - and this song certainly feels tougher overall compared to many of the others here thanks to Ledger's efforts. Later on, too, Jennings' uses some grittier keyboard textures - with organ and distorted synths adding to the heavier feel of the piece, whilst Ledger throws in a lengthy closing solo. Whilst most of the music here is written by Atkinson and Jennings, Punchline was written by Clements. He started contributing to the band as a writer on the last album, so it is good that he has also contributed here, and his effort is typical of the band's core sound - albeit with a bit more of a bass-driven feel. Atkinson's warm vocals seem to be more powerful than ever here, perhaps thanks to the arrangements and use of vocal harmonies, whilst the verses have more of a rumble thanks to Clements' bass playing. Arpeggiated guitar melodies and subtle synths fill in the gaps, but the crunch of the opening two numbers is gone - with bass grooves and occasional bluesy guitar leads taking over, whilst Jennings' adds a slow-burning synth solo later on which morphs into a snappy bluesy guitar solo.

The Things That I've Done really reins things in, and opens with a very laid back drum beat, acoustic guitars, and warm keyboards. Whilst many of Moon Halo's songs can feel like ballads thanks to Atkinson's vocal approach and the band's soundscapes - this song is the album's first true ballad, with Atkinson really pouring his heart out during the verses and Jennings' sombre keyboards creating a mournful atmosphere which is occasionally pierced by Ledger's guitar leads. Like many good ballads, though, the song does expand as it moves along - feeling bigger and bolder as it progresses. The drumming becomes punchier over time, with the acoustic guitar backing also growing, whilst Atkinson's voice becomes more powerful. Unison guitar and keyboard melodies also inject some melodic interest - whilst Ledger's aching guitar solo is more typical of his work on the previous Moon Halo releases when he cuts loose. Are You with Me feels more upbeat and poppy overall. Generally, Moon Halo's work is more laid back and atmospheric - but they have occasionally gone for a groovier and poppier approach, and Are You with Me is another strong example of such. Clements' bass playing is pushed to the fore here, his grooves having a slight disco edge, whilst Cromarty's drumming is similarly groovy - and Ledger's guitar melodies are busy and intricate. Atkinson takes a less emotional road on the vocal delivery front, too, instead singing in a slightly higher register to allow for the song's pop hooks to really shine. It is an easy song to latch onto thanks to these vocal melodies and strong grooves - with Ledger also adding some aching guitar leads as the song progresses. Don't Go Changing returns to something more typical of the band's core sound, with programmed loops opening things up - before Cromarty adds some subtle cymbal work and Jennings' synths join in. The early part of the song, then, is very laid back, with these synths and subtle percussion backing Atkinson's vocals, but once Cromarty starts to drum properly there is more of a punch to the track - with the bass adding plenty of depth despite the keyboards dominating. There is very little guitar weight here, with Ledger largely making himself felt during the chorus with some slow-burning leads, as it is the drum punch and the soundscapes which dominate. This contrast between atmosphere and a harder rock punch works well, though, although it does recede during the chorus to allow for piano chords and Ledger's guitar leads to shine. You, Me & Everybody is another track which goes for a poppier and groovier overall feel - but the song feels closer to the classic Moon Halo sound than Are You with Me. It is not as poppy as that previous cut, then, but there is still plenty of groove added by Clements' prominent bass playing - whilst the electronic piano melodies utilised throw the song back to the late 1970s somewhat. The slightly crunchier guitar rhythms heard earlier in the album return here, too, with parts of the track feeling a little heavier thanks to Ledger's playing - even though the bass playing and piano melodies dominate. There are grooves and hooks aplenty here, but the song is not as upbeat as Are You with Me so its melodies are more slow-burning and typical of the band's usual approach - and the closing guitar solo is another big Ledger moment.

Worlds Collided opens slowly, with Atkinson's mournful vocals against some droning synths, and it sounds as if the song is going to be a real slow-burning ballad - but it actually soon morphs into something of a mid-paced rocker with a bit more of a punch than is expected. Ledger's guitar melodies and occasional leads give the song its rockier edge, whilst the rhythm section has a real snap to its overall performance. Big piano chords and melodies add to Ledger's guitar playing, and the song overall feels quite intricate and melodic thanks to the interplay between the guitars and the keyboards. The song reminds me a little bit of Cats in Space in places - at least the more laid back and less bombastic end of that band's sound. There is a positive and relative up-tempo feel which is similar to that band's overall sound - with the ringing piano melodies feeling bright and Atkinson's vocals feeling strident. Ledger also adds a folky guitar solo to the song's closing moments, adding to the overall upbeat and somewhat different feel of the track. Nobody Is Perfect is perhaps the ballad that the previous song was teasing - and it is the most stripped back song on the album, at least at first. Based around Jennings' piano and Atkinson's voice, the song is simple in its arrangement - and it really brings the best out of the latter in particular. The way that Jennings plays here, which leaves lots of room between each batch of notes, really gives Atkinson's voice the spotlight - and the opening section of the song really shines thanks to this lack of production and additional instrumentation. Eventually, though, Ledger does join in, adding some guitar melodies, and this is then the cue for the rest of the band to join in - and the rest of the track is backed by a sombre groove and some layers of synths. The focus on the vocals and the piano does not really change, though, and they still dominate despite the fuller arrangement - whilst the occasional, Pink Floyd-esque guitar lead is welcome. The song is quite a lengthy one, but the guitar leads and the dominant piano playing create a strong atmosphere - and Atkinson continues to shine throughout. Truth ups the pace again, and the song is more of a rocker with some crunchy guitar rhythms and a poppy synth hook which surfaces throughout. Jennings' keyboard playing is generally less prominent here, despite the aforementioned hooks and a synth bed during the verses, with Ledger's guitars largely dominating. His crunchy riffing and rhythms give the song a bit of a punch, which the rhythm section help to expand on, whilst his solo part way through is lengthy and more typical of his contributions to the previous albums - despite it feeling a bit more hard rock and high octane than before. Not to be outshone, though, Jennings also adds a synth solo towards the end of the song. This builds on the synth hook mentioned before, as well as compensating somewhat for the reduced keyboard presence throughout the rest of the song.

The album's penultimate song, Back to You, returns to the core Moon Halo sound following the more up-tempo and rocking previous number - with Jennings' piano and synth work creating a bed for Atkinson's emotional voice, whilst the rhythm section add something of a groove. Despite parts of the song feeling very atmospheric, with the chorus perhaps being Moon Halo 101 in terms of approach, there is a little more bounce elsewhere - with the verses feeling more upbeat, albeit in a subtle manner. Programmed synths and a prominent bass presence help the verses to tick and feel a bit more bouncy - whilst the rumbling piano of the chorus, alongside some shimmering synths, are the perfect backing for Atkinson and his heartfelt lyrics. Jennings also adds a big synth solo in the middle of the track, with the cutting tone of the keyboard adding to the bounce heard elsewhere, whilst Ledger, whose playing is generally relegated to the background here, takes over as the song closes out for another guitar solo. The album then comes to a close with The Masterplan, a very typical Moon Halo track which covers a lot of the ground referenced throughout the album. There is a bit more weight here thanks to Ledger's guitar playing. His crunchy rhythms from earlier in the album return here, giving parts of the song a tougher feel, whilst Jennings also uses organ and some more oppressive keyboard tones to further this feeling in places. Grooves are also present, with snappy guitar lines locking in with Clements' bass playing during the verses - whilst Jennings' piano melodies operate slightly separately to provide additional interest. Atkinson sings well against this somewhat dense backing, with the use of subtle vocal harmonies adding to the song's overall big feeling - which is particularly prevalent during the chorus thanks to the shimmering synths and the layers of additional vocals to bulk out the sound. As the song progresses, too, it becomes a lot more dramatic - with a symphonic instrumental section crashing in with big drums and synth stabs, rocking up the piece unlike anything else on the album. This then morphs into a lengthy Jennings synth solo, which is somewhat Pink Floyd-esque too - although it is more harder rocking than that, which is exemplified when Ledger takes over, replacing the synths with his busy guitar soloing. This extended passage is the album's biggest and most bombastic instrumental workout - and it is fitting that it falls within the closing number to really give the album a kick as it comes to an end. Overall, then, Trichotomy is another strong album from Moon Halo. I did not find it immediate as some of the band's previous work, but over time many of the songs here have really grown on me and there is some subtle variety throughout which helps the album to shine. The core sound remains, but a few moments of experimentation and a harder rock approach help - even if the band's atmospheric approach very much dominates. There is a lot to like here for fans of the current progressive rock scene, and the melodies throughout are strong.

The album was released on 2nd May 2025 via Moonhalomusic. Below is the band's promotional video for album, featuring snippets of many of the album's songs.

Young Gun Silver Fox's 'Pleasure' - Album Review

A type of music which has become a real favourite of mine over recent years, particularly as a respite from all the heavier music I tend to consume, is all that falls under the rather nebulous umbrella of yacht rock. I had often, wrongly, thought that yacht rock was just another term for AOR and melodic rock due to Toto often getting tagged as such - but following watching an excellent two-part documentary on the yacht rock sound I learnt that I was wrong, and watching the programmes made me finally play those handful of Doobie Brothers LPs I had previously acquired cheaply. Funnily enough the Doobie Brothers LPs I had were some of the early ones, from before their yacht rock period, but they nevertheless led me to the band's late 1970s smoother era - alongside the works of acts like Daryl Hall & John Oates, Christopher Cross, and Boz Scaggs. It also made me realise that bands I already liked, such as Toto and Steely Dan, often flirted with such a sound - and the smooth sounds of the 1970s American West Coast has become just as much a part of my listening habits as harder rock and metal. It is very much a sound which characterises a time and a place, though, so it is not generally being made today. There are newer yacht rock acts, obviously, but they tend to operate on the fringes - often as uncool as many of the big yacht rockers were even when they were selling millions of records. Back in 2022, though, I was introduced, via Facebook, to the UK/US duo Young Gun Silver Fox - and after a couple of listens to their 2020 release Canyons I was sure that I had found the best modern yacht rock act around. Three years and two more albums on, I still feel the same. Admittedly I have not delved into the modern yacht rock scene, if such a thing even exists, but compared to anything else which I have heard in recent times that even attempts to be yachty Young Gun Silver Fox truly rises above. They are easily one of my most listened-to acts over the past couple of years - and after I saw them live for the first time at the beginning of 2023 I actually had to force myself to stop listening to them for a while so that I would not burn myself out on their albums. I listen to them more in moderation now, but I still love them - and I have seen them live three times in total, with the most recent time coming just last month in Bristol. The reason for that latest UK tour, their most extensive as a headliner, was the release of their fifth studio album Pleasure - which also dropped at the beginning of May. The duo's first since 2022's Ticket to Shangri-La (which I reviewed here), Pleasure sees multi-instrumentalists and songwriters Andy Platts and Shawn Lee in truly fine form. All of the duo's albums have been great, but the vibe throughout this latest record is joyous - and there is perhaps more of an upbeat pop vibe throughout the 10 songs here than on previous albums. There are still plenty of smooth grooves and the occasional slower number, but Pleasure is a great, feel-good record - with occasional 1970s disco vibes thrown in alongside a typical yachty approach. As usual, Platts and Lee are essentially responsible for everything here - although a horn section of Nichol Thomson, Tom Walsh, and Graeme Blevins flesh out some of the tracks as has often been the case in the past.

Whilst I have my favourites here, there are really no weak numbers on Pleasure. The album is a digestible length, too, which makes it perfect for any occasion - and the variety in the songwriting, despite the duo's core sound, keeps things interesting. The album's lead single, Stevie & Sly kicks things off - and the track feels poignant given the very recent passing of Sly Stone. It is not a plaintive track, though, with an upbeat groove showcasing that slight disco edge hinted at - whilst strong Motown and Steely Dan influences ensure that a core smoothness is retained. The prominence of the opening bassline, courtesy of Lee, sets a groove which never lets up throughout - whilst spiky drumming, metronomic guitar lines, and dreamy Fender Rhodes melodies create a warm bed for Platts' voice. Despite the great songwriting and production of the duo, it is Platts' vocal melodies which really make Young Gun Silver Fox. He generally sings in quite a sultry, Scaggs-esque register - but his falsetto is excellent, too, and the song's pre-chorus really benefits from this approach whilst synths swirl around. He also utilises some higher-pitched vocals during the infectious chorus, which may be one of the duo's best choruses yet, which sees an even more enhanced bassline create yet more grooves - whilst Platts' layers of harmony vocals ensure that the classy yacht rock 'produced' sound is very much present. The opening song is a future classic for the duo - and it is sure to become a staple in their live sets over the years. Upping the overall pace somewhat, though, Born to Dream is much more overtly pop in approach - and it may be the most unashamed slice of up-tempo pop rock in the duo's canon yet. Based around a tight Rhodes melody, the song moves along at a faster click than is average for yacht rock's groovy approach - but there remains a smoothness thanks to the pulse of the Rhodes and the bass, whilst Lee's guitar playing is subtle and melodic. The musical arrangements are perhaps less intricate here than the duo's often are, but all of the classic touchstones are still there - with Platts' once again knocking it out of the park vocally. Lots more falsetto vocals are utilised here, with the chorus in particular containing shades of Queen's more whimsical moments, but some deeper backing vocals from Lee add a playful edge. Lee also throws in a short guitar solo, too, which is effects-heavy and slow-burning - but it is melodic and suits the song's overall melodic approach nicely. This is a track which is all about hooks and its overall vibe - and it achieves this without sacrificing too much of the duo's usual layered approach. If Born to Dream looked to strip things down somewhat, then Late Night Last Train returns to the duo's true sound - with the smooth semi-ballad showcasing every yacht rock trick in the book. This is a song which could have easily been sung by Michael McDonald, so it is fitting that it is based around a Rhodes and synth bed - with arpeggiated guitar melodies, big acoustic guitar chords, and another pulsing bassline. I call the song a semi-ballad as many yacht rock songs could be seen as ballads due to their pace, but in reality the song is just a classic of the genre - and recalls the duo's own Mojo Rising somewhat for pace and vibe. Lee cuts loose a little here, too, with a lengthier guitar solo, adding Eagles-esque aching melodies to the piece, whilst the slow-burning chorus is another which Platts owns thanks to a more laid back delivery and plenty of soul.

Burning Daylight is somewhat more upbeat - introducing a strong dose of funk thanks to the prominence of Lee's bass playing and the introduction of the horn section for the first time here in a big way. Despite feeling more upbeat than the previous song, the track is still a mid-paced piece overall - with the bass playing giving the song a kinetic feeling, whilst bigger guitar chords and Rhodes flourishes add some drama. The track is less laid back than some of the duo's efforts, and there are some bigger musical flourishes throughout in general - with the horn section adding colour and the Rhodes taking the lead at times to accent certain parts of the track. Blevins throws in a pretty lengthy saxophone solo, too, and the this jazzy excursion only enhances the song's funky overtones in a positive way - with the call-and-response chorus vocals also having a similar impact. Holding Back the Fire reminds me of West Side Jet from the previous album - in the fact that the smooth groove feels especially Scaggs-esque, with sparse bass playing creating a slightly off-beat feel whilst acoustic guitar chords tend to dominate. This especially applies to the verses, which feel somewhat restrained and plaintive - with the Rhodes melodies feeling more mournful behind Platts' slightly quieter vocal delivery. The chorus is a bit more upbeat, though, with strong gospel influences in the approach to vocal harmonies and the presence of the horn section which kicks in as the pace becomes a bit more intense during the chorus. Occasional Toto-esque synth stabs add to this upbeat feel during the chorus, with Platts later laying down a Rhodes solo in a change of pace to the usual guitar-based approach. Just for Pleasure somewhat builds on the approach of the previous song's chorus, as well as doubling down on some of the disco vibes heard elsewhere throughout the album. The bassline, particularly in tone, reminds me of Michael Jackson's Thriller album - and this track has a similar overall vibe to the more laid back songs on that all-time classic. Some of Platts' vocal harmonies are Jackson-esque during the chorus - and there are synthy moments which also recall the 1980s, too, building on those synth stabs during the previous song. The classic Young Gun Silver Fox sound is retained, though, with a smooth chorus still managing to exist in amongst the funkier vibes throughout. Everything manages to hang together despite this variance of influences, and it is fun to see the duo operating on a poppier plane during parts of this album. Put Up Your Dukes returns to something much more typical of the duo's core sound, though, with another excellent bassline generally driving everything - whilst Rhodes melodies and subtle guitar lines once again return to the fore. This is the sort of song which the duo have written since the beginning, but the formula has not run dry yet. The duo's core approach still sounds fresh five albums in - and it helps that Platts' ear for a massive vocal melody endures, with the song's chorus being another hooky one despite a smooth approach and slightly pared back harmonies.

The Greatest Loser is another which treads a slightly more typical pop-based path - albeit with the duo's core sound retained, particularly during another smooth chorus. Instead of the prominent Rhodes sounds used throughout the album, which do still surface throughout this track, The Greatest Loser feels more typically piano driven, especially early on, with the opening verse actually reminding me of early Elton John thanks to Platts' slightly different vocal approach and a more stripped back arrangement. There is certainly less groove here, with the song having more of a typical pop rock drive. The bass is less important here than is typical, with the piano chords the song's most prominent facet - even if the harmony vocals during the chorus and Platts' melodies are very typical of the duo's core sound. Platts' guitar solo is a bit more rock-orientated than is typical, too, and it really screams out of the speakers at one point - adding some strong additional melodies to a track which feels more strident despite it having ballad-esque qualities. Stealing Time returns to something much more yachty, though, with a prominent horn hook heralding the start of another smooth, grooving number which may be the album's biggest grower. This is not a piece which really grabbed me much at all early on, but repeated listens to the album have brought it to the fore - with the chorus' slightly off-kilter vocal melodies helping it stand out. It helps that the horn section really adds a powerful depth to this track - and there is an instrumental section part way through which really turns the clock back to classic Chicago. This horn-led moment showcases the duo's penchant for tight arrangements - and there is quite a lot going on beneath the core melodies from the trio of horn players. A big bassline drives everything as always - and the mix of this horn-led approach and another excellent chorus have really elevated the song for me. The album then comes to a close with the breezier One Horse Race. It returns to the poppier feel of Born to Dream somewhat - but with more of the duo's core yacht rock sound retained, which gives the song a snappy feel despite a smooth groove being present throughout. The bass playing is not as busy here as it often is, but the gaps between the notes add as much to the groove as the notes themselves - and the ever-present acoustic guitar helps to add a level of class and depth. A bit like Journey's Don't Stop Believin', the song's chorus is only really fully revealed towards the end - and the brightness overall increases during this eventual chorus, with huge vocal harmonies and a driving Rhodes chord sequence providing once last sing-a-long with Platts. Subtle horns and synths add depth, too, and the track closes out the album nicely with its breezy vibes. We are now five albums in and I am not sure that Young Gun Silver Fox know how to disappoint. The duo have crafted an excellent set of new songs here and the arrangements and layers throughout only help to enhance the base melodies and chord sequences within. These are songs that keep giving despite their pop hooks and easy-going melodies - which is what tends to make yacht rock special to begin with. This is pop music written by expert musicians who are masters of their craft - and the album is already one of the band's best for me.

The album was released on 5th May 2025 via Candelion. Below is the duo's promotional video for Stevie & Sly.