‘Eureka’ is an album that could have been destined to exist only in the memories of the men who made it. Unreleased as the result of a record deal that wasn’t to be, all remained quiet on The Western Front for some forty years. But now, the master tapes have been dusted off and restored (or perhaps unearthed from the ground, as suggested by the cover!) with ‘Eureka’ finally set to debut on the 10th July. If you’ve not heard of The Western Front (and really, why would you have?), you’ll certainly have heard of Scott Gorham, who lends his guitar playing prowess to the project, the result of a collaboration with high school friend and fellow guitarist Marty Walsh. But there’s little of Thin Lizzy in the smooth, AOR sound that this quintet deliver so well. Opener ‘The Law of the Jungle’ could be mistaken for a forgotten Toto track, the lush harmonies and sparkling keyboards introducing an album that feels warm and familiar from the first listen. Recorded between 1983 and 1984, songs like ‘Set Me Free’ and ‘Danger’ undoubtedly feel lifted from that time, but in the best possible way. A time when melody and big choruses mattered, and it was important to have a frontman who could really sing. Richard “Moon” Calhoun certainly fits that bill, bringing soul to ‘1000 Nights’, and passion to the grooving ‘Just Go’. Sometimes reminiscent of Night Ranger at their anthemic best, the soaring chorus of ‘If I’m the One’ feels made for arenas, as does the key change that propels ‘Rain’ to a satisfying conclusion. Impossibly catchy, even when you suspect they might not be trying, fans of FM will find much to enjoy in the epic balladry of ‘I Would Rather Be Lonely’ and the brooding ‘Heartland’. An AOR lovers dream, ‘Eureka’ should have been remembered as an 80s classic. Instead, it will be launched into a world that no longer seems to value brilliant song-craft, electrifying guitar solos and powerful vocals. But for those of us who still do, it’s an album that deserves to be heard, a eureka moment that leaves you wondering how something this magnificent could have been left to be forgotten.

At a time when so much of our activity is conducted online, it was good to see an old-fashioned (and long) queue of fans gathered early outside the O2 Academy in Glasgow in advance of ‘Doors Open’, eager to get a good spot in the venue to see tonight’s acts. No playing it cool and turning up just as the bands hit the stage. For tonight we were here not just to see and pay homage to a singer, musician or band, but to a musical legend and icon who broke the mould, changed the face of rock and punk music forever and became a role model for women all over the world. How many can say that? Sixteen years since their last headlining shows in the U.K., Joan Jett & the Blackhearts were playing the opening night of a 5-date U.K. tour in Glasgow and were also on the cover of the latest issue of the leading punk magazine Vive Le Rock. THE MEFFS Continuing the punk theme, support was provided by The Meffs who I hadn’t seen live before, but are developing a reputation as one of the most exciting U.K. punk bands in years and have been working with Frank Turner. Opting for simplicity, The Meffs are a likeable, but ferocious two-piece formed of Lily on guitar and vocals and Lewis on drums. While some others have made a success of this or a similar format (The White Stripes, Royal Blood and The Courettes), it’s not without risk, as what can sound good in the studio can sometimes sound thin, and lacking depth, variety or other musicians when played live. As an old 1920’s Art Deco cinema with the seats stripped out of the stalls and a high ceiling, the O2 Academy can be a cavernous and unforgiving space. But, tonight The Meffs filled the stage and every inch of, and crevice within, the venue with their sound and own brand of socially-aware punk/noisecore. Playing a 30-minute energetic set, including ‘Stamp It Up’, ‘Business’, a cover of The Prodigy’s ‘Firestarter’, ‘Clowns’ and ‘Broken Britain, Broken Brains’, The Meffs are fierce, intense and Glasgow took them to their hearts. Speaking between songs, Lily mentioned how the south of England is a horrible place just now. Unlike the friendly playing off of one city’s or country’s audience against another which some bands can engage in, this felt different and due to the culture of hate being created by the far right, with The Meffs proudly declaring themselves both anti-war and anti-fascist, giving the audience even more reason to love them. JOAN JETT & THE BLACKHEARTS As the lights went up and the crew removed The Meffs’ equipment and prepared the stage for the main act, the feeling of excitement was thick in the air. Looking around, I was also struck by how diverse tonight’s audience was beyond the mixed age ranges. Music in the U.K. was quite tribal in the 80’s, but where there once were tribes we now have communities and Scotland’s rock, punk and LGBTQ+ communities were all out in force tonight lending to one of the most inclusive gigs I’ve attended. More gigs should be like this. At the risk of mansplaining, the significance of what Joan Jett did can’t be over-stated, but it does need repeated for younger music fans who might not be fully aware just how much she did or for some older male rock fans who may be reluctant to recognise this. Billed as ‘25 years of Bad Reputation and I Love Rock’n’Roll’, the tour is in celebratory mode for two great albums. While the ‘I Love Rock’n’Roll’ album was released in late 1981, the single of the same name wasn’t released until 1982 where it spent 7 weeks at No. 1 in the US, selling over two million copies, and reached No. 4 here in the U.K. Since then, and at the time of writing this review, ‘I Love Rock’n’Roll’ has been streamed 692,576,020 times on Spotify. While not the highest streamed rock track, it is probably one of the most recognisable rock songs ever released. Rock was still on the fringe of mainstream music in 1982. At the time, rock was dominated by Motörhead and AC/DC, Whitesnake were still a blues rock band, Iron Maiden’s breakthrough album ‘Number of the Beast’ was still to be released a couple of months later and this was years before rock music peaked with mainstream popularity in the late ‘80’s when Guns’n’Roses, Bon Jovi, Def Leppard, Whitesnake, Motley Crüe and others became massive. Joan Jett took rock music mainstream. She did this as a woman - at a time when the industry and many within the male-dominated rock scene (managers, bands and fans) didn’t think women could do this. She did this with (punk) attitude. And she re-wrote the rules, changing the lyrics of the Arrows’ ‘I Love Rock’n’Roll’ song released in the 70’s from being about a guy picking up a girl, to a girl picking up a guy. Come on, you know the words - “I saw him dancin’ there by the record machine, Knew he must’ve been about 17”. This was about female empowerment and Joan Jett changed rock and punk music forever, encouraging and empowering women to play music. Here endeth the history lesson and back to the gig. The already packed stalls became more packed as stage time approached. A massive roar went up as the lights went down and the intro tape started. Longer than most intros, anticipation only increased, teasing us as shots of Joan and the band from throughout her career were projected on to a large screen filling the back of the stage as the band took their places and then opened their set with ‘Victim of Circumstance’, the first of six songs from the ‘I Love Rock’n’Roll’ album to be played over the course of the set. Barely pausing for breath, the band launched into playing ‘Cherry Bomb’ and the audience erupted. Only two songs in and hearing The Runaways’ classic song would take some beating. Originally released on ‘Bad Reputation’ in 1981, their cover of Gary Glitter’s ‘Do You Wanna Touch Me? (Oh Yeah)’ followed and was really well-received. Rock and punk music have regularly sought to provoke, be controversial or shock. It was unclear if this was the intent given developments in the years since then, if they were just playing it as they’ve done over the years or were aware of the latest charges coming through this week. Personal view - there are other songs from this album which could be played instead. While weighted towards ‘I Love Rock’n’Roll’ and ‘Bad Reputation’, the 20-song set included songs from albums throughout her career along with the Springsteen-written ‘Light of Day’ from the soundtrack of the movie starring Michael J. Fox, and a powerful cover of The Replacements’ ‘Androgynous’ which Joan volunteered she liked playing as she could really relate to the words. As with most touring US acts, the longer things continue with their current political administration, the more they feel the need to speak out and voice their concern about what is happening and being normalised in their country. As such, Joan paused between songs to read out a statement which she had prepared before playing ‘Change the World’. The music continued with a couple of songs from her most recent studio release (the Mindsets EP (2023)) and another cover off of ‘Album’, Sly and the Family Stone’s ‘Everyday People’. And then THAT riff and song started. As would be expected, ‘I Love Rock’n’Roll’ created bedlam. For many acts, the question might then be “how do you follow that?” But, when not played as an encore, set opener or set closer and sandwiched between other great songs, the Blackhearts just kept playing and followed it with a run of the sing-song rock’n’roll lullaby of ‘Crimson and Clover’ then the anthemic ‘I Hate Myself For Loving You’ and ‘Bad Reputation’ … reminding us, if it was needed, that as big a song ‘I Love Rock’n’Roll’ is, Joan Jett & the Blackhearts are much more than a one-hit wonder and have a large back catalogue of great material. While we’re all getting older, and her vocals have changed a little, this was top-quality musical entertainment. To some, their music may seem formulaic. But when that formula is gold plated, why change it? Iconic glam-influenced rock’n’roll with punk attitude, big guitars and even bigger choruses to sing along out loud to. Another fantastic gig providing a rare chance to see a genuine rock and punk icon, supported by one of the most exciting emerging bands in U.K. punk. SETLIST Victim of Cirumstance Cherry Bomb Do You Wanna Touch Me? (Oh Yeah) You Drive Me Wild Change the World (I’m Gonna) Run Away Light of Day (Make the Music Go) Boom Fake Friends Androgynous Oh Woe Is Me Lie to Me Love Is Pain Long Time If You’re Blue Everyday People I Love Rock’n’Roll Crimson and Clover I Hate Myself for Loving You Bad Reputation GMcA

Since 2018, there’s been a revolution happening in the French hard rock scene that started in Paris before creeping across the country and exploding into the UK and Europe. That musical revolution is Parisian rockers Harsh, who have slowly but surely been crafting a reputation as the finest French export since Champagne! Inspired by bands such as Bon Jovi, Motley Crue, Guns N’ Roses and Van Halen, Harsh burst onto the scene 8 years ago with an EP followed by debut album Out of Control in 2022; astatement of intent to bring the glory days of 80’s glam and hard rock back to the fore with their own harder edged, modern twist on the sounds and vibe of golden-era Sunset Strip. Explosive, high-energy live performances upped the hype further, as did a series of well-crafted single releasesover the last few years. Now, the likeable foursome of Albert Arnold (vocals/guitar), Severin Piozzoli (guitar/backing vocals), Julien Martin (bass) and Leo Lowenthal (drums) have really reached the next level with stunning sophomore album ‘Feels’. I’ve been fortunate enough to have had this album for a few months now, finding new layers with every listen as the Rockfiend-backed rockers show what can be achieved with resilience, hard work, determination and a truckload of musical talent! Opener ‘Break Your Way’ is the kind of rocker that any of the Sunset Strip bands would’ve been proud of in the heyday of glam and hard rock. Heavy riffs and some guitar histrionicsare the order of the day, with gang-like vocals and harmoniessmattered across the song too. Think Hysteria-era Def Leppard crossed with Slippery-era Bon Jovi and you’ll be in the right ballpark! Pure rock n roll joy! ‘All I Ever Wanted’, with its catchy, sing-along chorus, is a bit moodier sounding but is nevertheless the kind of driving rocker that’ll have live audiences jumping around. The frantic ‘Fuel to the Fire’ is fast and furious and will have a similar effect in a live setting… or whilst doing the dishes in the kitchen! Try not to jump around when listening to this one!The strangely titled ‘Offer You a Rome’, is a modern, driving rock song with a huge “whoa, oh, oh” section… and we all love a “whoa, oh, oh” in a rock song, just as much as we love a guitar solo. There’s even a brief appearance by a piano! Is there any end to Harsh’s talent? Apparently not, as further evidenced by ‘Don’t Mess With Me’, a song straight out of the Dokken playbook, with big riffs and a huge chorus! A few months ago, I reviewed ‘Forever Yesterday’ for Rockfiend, saying it’s “the kind of hard rock power-ballad I’ve been waiting on for years. It’s soaring, powerful, emotional and full of heartache, transporting you back to 1980s Sunset Strip whilst grounding you in 2026 with a polished, modern production” . This position remains, as ‘Forever Yesterday’ is one of the best power ballads I’ve heard for years and for me, is the standout track on an album already packed with many musical delights! The accompanying music video is worth a watch too! Another track I have previously reviewed as a single is the catchy yet incredibly hard rocking, heavy riffing cover of ‘Maniac’, the song made famous by 1983 movie Flashdance. As I said at the time “Harsh have transformed the classic track and made it their own by turning the amplifiers to full volume and adding musical muscle and bombast, resulting in an aural tour-de-force that will have you singing along and banging your heads with equal gusto!” . Quite simply, covers can be risky. They don’t always work. But sometimes a risk can reap great rewards and that’s what happened here. I dare you to try not to sing along… and watch the video too! ‘Back to Life’ is a bouncy little ditty, with the opening more Franz Ferdinand than Firehouse but from there, it transforms into another modern, sing-along rocker. ‘Losing my Mind’ rocks from beginning to end with the most Guns N Roses Appetite-era chorus since… well… Guns N Roses in 1987!‘Dancing Dancing’ has Ratt’s DNA all over it, from the hooky riff to the big chorus whilst ‘Never Gonna See Me Fall’ dials down the tempo to reveal a sweet, acoustic ballad that builds in power to the kind of chorus that Warrant would’ve killed for. Album closer ‘When We’re Together’ is the perfect final track with its Tyketto-like feelgood factor that’ll have you dancing and singing along! ‘Feels’ is more than just another hard rock album. It’s an album that Harsh have been working towards since their inception, with the blood, sweat and tears of years of hard work and determination pouring from every single track. This is an album that will stand up for years to come; heavy, melodic, hook-laden, stadium-sized rock music with huge vocals, riff-laden guitars, hard hitting drums and driving basslines. It’s fun and feelgood with a top-notch production… just like it used to be back in the day! This could very well be the rock album of the year! Come and join the new French revolution… with Harsh!

When Ian Gillan said that this new album would remind us strongly of the early 1970's era, he wasn't lying. Opening song, "Arrogant Boy" hits the tarmac running. Quick-paced, and drives along at a frantic, yet measured velocity. It sets the tone remarkably, with "Diablo" keeping up that vein immediately. "The Rider" has a glorious Keyboard intro from Don Airey, then cracks it's way into a dramatic opening. Simon McBride imposes himself early on. I'd personally say his sound is closer to Steve's than Ritchie's, though crucially, he has his own finger print. Ian Gillan is still producing some top-drawer lyrics. Reflective, yet amusing, poignant, yet uplifting. He's also crafted his voice to suit the output over the years, and that distinctive timbre is very firmly still there. To my mind, he's the finest rock vocalist of all time. "The Lunatic" is perhaps the heaviest song thus far, with a threatening riff that simply doesn't let up. Ian Gillan's singing matches that atmosphere perfectly here. It's clear already that DP are putting in as many twists and turns as they always do. They also have an in-built radar for knowing the times to do this. "The Only Horse In Town", has a very easy feel, once more with a gravitas befitting a group of this stature. "I have the Presidential Suite, though I chose a Motel" says, Ian Gillan. Each song has so much in it. It's nice to hear more from Ian Paice on this album. "Sacred Land"....oh my. The heaviest song on the album thus far, also immensely epic. Think "In Rock" meets "Perfect Strangers" eras. For me, this song ends way too soon. From the Morse era onwards, I've often said that there are times when DP could stretch out more, and this song fits that viewpoint perfectly. It could have gone in so many directions. However, it's still very impressive. "The Beating Of Wings", is slower, with a "Maybe I'm A Leo" vibe about it. Ian Gillan talks of those moments we have when we're alone, perhaps longing for a certain someone. (We've all had that, haven't we?) At the same time though, pointing to a positive way forward. "Guilt Trippin" starts with a glorious classically inspired Piano piece from Don Airey, with Simon and Ian arriving on time to take it forwards. "I'm guilt trippin' on the last train home", says Ian. Once more, we know what he means. Roger Glover dances in and out, knowing exactly when to act. You can't teach the sort of "time" that Roger is gifted with. Some songs here do remind me of Gillan (the group). "Scriblin' Gib'rish" is one of those. From the title, the lyrics, and the nature of the structure, it sits within that remit. "Jessica's Bra" came from a miss-spelling over a pub bar. The song almost has a "jig" sense about it instrumentally, and serves as an interesting deviation on the album. "Third Call" takes us back to heavier territory to start with, then alternates between melody and a bombastic thrust. "My New Movie" ups the ante, with another classical style mid section. Title track "Splat!" starts with a strong intro from first Ian Paice, then Roger Glover coming in as well. One of the standouts on the album. It has the heavy/melodic cycle administered perfectly. Ian Gillan talks of how the human race may have to evolve to move forwards, physically and spiritually. Once more, it's lyrically positive and thought provoking. Just how you'd like the album to finish. If you purchase the deluxe edition, there is an extra track (on a separate 7" single), an instrumental called "Guinneses". In the same mould as "Wring That Neck" or "And The Address", this has already made it's way into the setlist, running directly into "Hush". On first hearing, it goes shoulder to shoulder with any instrumental from DP's roster . At this risk of labouring the point, there are a couple of tracks here that beg to have been stretched out further. Two or so songs could have then been removed from here and used as extra tracks on special editions. When Bob Ezrin started working with DP, he said he wanted them to put the "Deep" back into Deep Purple. He meant it, and goodness me, how it's worked. He deserves full credit and acknowledgment for his input. Simon McBride has also injected a fresh and different oomph into DP. They are enjoying a massively fruitful period, releasing albums at a very pleasing rate. How they keep finding the inspiration, I've no idea. I'm just overjoyed that they do. So, where does this album sit in the catalogue? Goodness me, now you're asking me, aren't you?! I've listened to it twice, and at this point I'd say it's up at the top of the Ezrin era, along with "Now What?!". You could also say it's in the same area (in terms of quality) as "Purpendicular", whilst still a very different offering to that album. It can also sit proudly amongst their earlier work, and stylistically leans closer to that period than some of the more latter day output. They are already (surprisingly) talking of the next album after this one. "Splat!" is a very impressive, refreshing, emotional, melodic, heavy album. From one of our true national treasures, they've shown us once more why they deserve that designation.  "Splat!"is out now now on Ear Music. Deep Purple are on tour in Europe now, and hit the UK in November.

OUT ON SEPTEMBER 25, 2026 VIA FRONTIERS MUSIC SRL

SET FOR RELEASE ON SEPTEMBER 18, 2026 VIA FRONTIERS MUSIC SRL

Set for Release on September 25th via Frontiers Music Srl

There was no question that Def Leppard delivered another brilliant show and sounding better than ever,  Glasgow lapped up every minute.

Hardwicke Circus Hardwicke Circus were first to take to the stage to a mostly-full auditorium. Hailing from Carlisle and managed by Dave Robinson (who previously managed Elvis Costello and co-founded Stiff Records) Hardwicke Circus have been developing a hard-working reputation which has seen them gigging around the U.K., Europe and Ukraine. Unmistakably retro in sound, equipment and image, they played a short, lively and committed set of original material including ‘Walking on Broken Glass’ and ‘Woman’. Providing their own take on 70’s ‘pub rock’, as made popular by Dr. Feelgood, Graham Parker and others, their sound also has elements of The Kinks, The Doors, Ian Dury and the Boomtown Rats in places. Straying furthest from this formula, but not too far, was ‘The Ballad of Oleksandr Usyk’ with the Fratellis’-influenced ‘da-da-da-da’ chorus aimed at and succeeding in creating a ‘ you don’t need to know any words’ communal crowd sing-along. While playing as a six-piece, it would be hard not to single out Johnny Foster, on vocals and guitar, who is a compelling front man with what appeared to be effortless and natural stage presence - definitely one to watch now and a potential star of the future. Chris Difford Providing the main support was Chris Difford - one half of the main songwriting partnership behind and within Squeeze. Playing a solo set on acoustic guitar and accompanied by the excellent Melvyn Duffy (who it would probably be easier to list who he hasn’t played with) on pedal steel and electric guitar, Chris also displayed a very dry and self-deprecating sense of humour which had the audience in tears of laughter and could easily have been classed as stand-up comedy of a level people would pay to hear as just banter between songs. Introducing his set by saying he’d been allowed out of his care home for the evening and that he recognised some in the audience from there and the bus ride over, he treated the highly-appreciative Glasgow audience to a trip through Squeeze’s hits, of which there are many, and from his solo career - ‘Take Me I’m Yours’, ‘Up The Junction’, ‘Pulling Mussels (from the shell)’, ‘Labelled With Love’, ‘Tempted’ and ‘Cool for Cats’. If you grew up in the U.K. in the “80’s, it doesn’t matter how much of a rock or metal fan you were, you know the songs, you know the words, we all do. Interspersed after every second or third song was more banter mostly all linked by a common thread - about how many bands he met in their early days about whom he felt something was “a bit shit” (a song, the band name), but who all ended up playing at Wembley while Squeeze were still only playing their local pub on a Council estate. Chris also appeared genuinely surprised and moved by how much the audience was singing along to his songs - almost word for word to most of the set. But he also couldn’t resist winding up those who were singing (mostly quietly and gently, mainly female and of an age to have been fans in the 80’s) by saying that he was getting a “semi” and that it sounded like the wartime spirit during the blitz … only here the communal singing wasn’t of Vera Lynn’s songs, but those of one of our greatest pop songwriters. An absolute gem of a set. Hat doffed. Glass raised etc etc. Without any risk of hyperbole or over-statement one of the best support slots that I’ve seen, ever. Wonderful stuff. And if you ever see him touring with this do what it takes - sell the house/your arm/dog - just get a ticket. Elvis Costello & the Imposters (with Charlie Sexton) So, how do you follow that? Not easy and many artists wouldn’t have taken the risk of being upstaged and touring with such a strong act as the main support. But when you’ve both known each other for years and have a catalogue of hits and deep cuts that most other artists couldn’t dream of (as Elvis Costello has) you just do your thing, as he’s being throughout his career and I hope he’ll continue to do. Straddling genres - pop, punk, power pop, new wave, rock, jazz, singer/songwriter, movie soundtracks and many more. Tonight’s gig had been promoted as being by ‘Elvis Costello & the Imposters with Charlie Sexton’. While the Imposters have been playing with Elvis for about 25 years (with Steve Nieve on keyboards, Davey Faragher on bass and Pete Thomas on drums) and Steve and Pete also played in the Attractions before then, it was clear the respect that Elvis gives to Charlie Sexton who has joined this tour on guitar, having played in Bob Dylan’s band for years and offering a further dimension in sound. Billed as the ‘Radio Soul! The Early Songs of Elvis Costello’ tour, the gig promised much and didn’t disappoint with a strong focus on his earlier albums. Bursting into life, the band opened with ‘You Belong To Me’ and ‘Mystery Dance’. Being honest, the sound wasn’t great at the start, which it should have been given the acoustics in the purpose-built concert hall, but Elvis’s vocals were quite low in the mix, with the keyboards dominating and the guitars fighting for space. I did wonder if they’d sound-checked earlier, but the sound improved as the gig progressed. Sitting in the circle, we had a great view from above as the band filled their spaces. At one side of the stage Steve stood at the centre of keyboards arranged in a square around him in the style favoured by many prog bands, gliding from one to the other and back again as a master of keyboard wizardry as Charlie Sexton prowled the other side of the stage with his guitars and looking like a cross between Keith Richards and Dave Vanian. Behind them Pete powered away on the drums as Davey held things down on the bass, with Elvis fronting and co-ordinating his band of musicians and frequently changing position around stage. They are such a gifted group of musicians that at times there was so much going on musically the songs could have gone anywhere, but they kept their course. And big song after big song, they just kept coming - ‘Watching the Detectives’, ‘Little Triggers’, ‘Lover’s Walk’, I Can’t Stand Up For Falling Down’, ‘(I Don’t Want to go to) Chelsea’, ‘Pump It Up’, ‘Radio, Radio’, ‘Alison’ and ‘Oliver’s Army’. But the highlight of the gig for me was within the first half when Elvis rounded up his band members, ushered them across to Stage Right, swapped places with Steve and also his guitar for a piano. There then followed jaw-droppingly good renditions of Charlie Rich’s ‘Who Will the Next Fool Be’ and then ‘Everyday I Write the Book’. Forget we were in a 2500 seat concert hall. This was late night music delivered in a small club with all the feels. Goosebumps wouldn’t come close in describing it and in which the vocals and music were just sublime. Sadly, I had to leave before the end of the gig to get back through to the East and a big day at work the next day. As I drove back along the M8 with sounds of the gig still going through my head I reflected that it’s nights like this which keep me going to see and hear live music. Simply brilliant. GMcA