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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
I should start this review with a disclaimer of sorts. Metallica is where it all started for me. I was 12 when I discovered the band following a recommendation from a slightly older “character” at the local youth club, when most peers were into the Britpop of Oasis, Blur, Manic Street Preachers etc. After hearing the Black Album for the first time and obsessing over every track for weeks, months and even years, I followed it up with purchases of Load and eventually Reload (much maligned, in my opinion!) when they were released before working my way back to the early days and the thrash of Kill ‘Em All, Ride the Lightning and the majestic Master of Puppets. My first band t-shirt was a Metallica one and my first music VHS (remember them?) was Cunning Stunts. I wore that tape out! I’ve seen them live twice before and, on both occasions, spoke about the shows to anyone who’d listen for weeks afterwards… whether they wanted to hear about it or not! Metallica started my journey into heavy music and have been a big part of my musical life for 33 years now. So, it’ll probably be difficult for me to write an objective review here! Unfortunately, due to work commitments and Glasgow City Council’s decision to have temporary traffic lights (with no apparent work ongoing!) only a few hundred yards from a sold-out Hampden, I missed opening acts Knocked Loose and Gojira. I usually make a point of arriving in time for support slots, as it’s an opportunity to find new bands and music… but I’d be lying if I said I was gutted to enter the stadium as the last muffled but loud notes of Gojira’s set echoed around the national stadium. That meant I had time to grab a quick drink before settling into my seat, which provided an excellent view of proceedings. Having my wife with me to enjoy her first Metallica live experience was also special, as their music was something she constantly had to hear in the teenage part of our relationship and has been ongoing in the 21 years of marriage since! There was something fitting about James Hetfield (vocals/guitar), Lars Ulrich (drums), Kirk Hammett (guitar) and Rob Trujillo (bass) entering the stadium to the strains of AC/DC’s ‘It’s a Long Way to the Top (If You Wanna Rock N Roll)’, as the Young brothers were born and brought up in Glasgow before emigrating to Australia and becoming the rock legends we all know and love. That was enough to get the excitement levels up but it was nothing compared to the noise when Metallica’s now legendary intro music, Ennio Morricone’s iconic ‘The Ecstasy of Gold’ from The Good, The Bad and The Ugly boomed through the massive sound system as clips from the movie played on the 8 huge stanchions of screens situated around the circular stage. Metallica were in town… and it was going to be immense! Opener ‘Creeping Death’ is 42 years old but in Glasgow, it sounded mightier and meatier than it ever did on the original recording, ageing in a live setting like a fine wine amped up to an ABV of 100%! Fists pumped in the air and fans young and old revelled as the metal masters commanded the audience from the outset. But that was nothing compared to the frenzy when the opening bars of ‘For Whom the Bell Tolls’ boomed through the stadium, with Kirk Hammett’s song-defining intro ditty causing a flurry of air guitar activity in the seats and a rush towards the stage in the standing area. ‘Hit the Lights’ went back to the very beginning of the band’s career, meaning the first three songs were taken from the first two albums from the early 1980s. Loud. Proud. Ageless. Thrash! ‘King Nothing’ from the previously mentioned, much maligned Load album brought us back to the more modern-age Metallica sound… although even that was now 30 years ago! The setlist was brought right up to date with ’72 Seasons’ from the most recent album of the same name, ensuring the opening 5 songs pretty much covered the band’s whole career so far; beginning, middle, current. The reason for their continued longevity was crystal clear! As stated in the opening paragraph, this writer cut his heavy metal teeth on The Black Album, so the intro to ‘The Unforgiven’ transported me straight back to my bedroom in my parent’s house, going through an always-dressed-in-black stage (which I’m now very much back into!) and trying desperately to grow my hair as long as I could without annoying my church choir singing mum too much (which I now can’t do due to baldness!). The guitar solo remains as sublime now as it did when I listened to it on my Sony Walkman. There may have been a slight lump in my throat, such is the power of music invoked memories. This was further compounded by the impressive, speaker shaking intro to ‘Fuel’, with accompanying flames and pyrotechnics. Wow! Just wow! One thing I didn’t expect was Kirk and Rob playing a specially curated medley of music from Scottish bands, with Nazareth’s brilliant ‘Hair of the Dog’ and The Proclaimers’ annoyingly catchy little ditty ‘I’m Gonna Be (500 Miles)’. The place was rocking; such is the Scottish proclivity for being overly enthusiastic for anything Scottish… particularly when it’s played and acknowledged by non-Scots! ‘The Day That Never Comes’ was another memory bank moment, reminding me of sitting my then one year old son on my knee whilst making him play air drums! The show had already been more than I could’ve asked for but from this point on to the end of the show was everything I ever wanted from Metallica. A triple salvo of The Black Album with the magnificently moody ‘Wherever I May Roam’, the emotionally sublime ballad ‘Nothing Else Matters’ and the heaviest of heavy songs (“Do you want heavy?” asked Hetfield), ‘Sad But True’. For me, that trio was part of the Holy Grail of Metallica music. In fact, they’re part of the Holy Grail of metal music! Flames, explosions and the sound of gunfire signalled the start of anti-war song ‘One’, the sole representative of the …And Justice For All album, starting softly and sadly before exploding into a cacophony of anger and disdain. Some fun was introduced with the release of massive Metallica-branded beach balls that were thrown around the crowd during ‘Seek and Destroy’, with one poor stagehand being responsible for batting them away when they got too close to Lars Ulrich’s drumkit. Despite some obvious deliberate attempts by fans to do just that, the stagehand was successful in his duty! There’s no time for encores in a Metallica show. They don’t need the validation of a crowd screaming and stamping for their return to the stage. The final two songs could be the ones that define Metallica; the thrash majesty of ‘Master of Puppets’ and the more commercial-yet-heavy melody of ‘Enter Sandman’. Heads banged, fists flew into the air, some people even cried. Then, it was all over, as drumsticks and guitar picks were thrown into the crowd causing something reminiscent of a wedding scramble (remember them?). What a night! Being a Metallica fan means being part of the Metallica family. They’re not the type of band you listen to and then grow out of. Oh no, once you’re in, you’re in for life. To people like me, Metallica are much more than just a band. They’re memories of youth and were harvesters of our sorrow when times were tough. They’re a reminder that being the uncool metalhead kid was the making of many a person. In fact, with age and hindsight, we really were the cool ones, unafraid to be different and refusing to go along with the trends! When it comes to metal music, nothing else matters! It may be another 9 years before we see Metallica back on Scottish shores. It may even be that they may never return, as after all, they’re now in their early 60s. Either way, the memories will remain of a legendary night that broke attendance records at Hampden Park in Glasgow. Brutal, powerful, heavy, loud, metal… Metallica!
I have returned to the first venue I shot in for Rockfiend photographing one of the first bands I shot when I started to take photography seriously. I am in The Cathouse in Glasgow to shoot Six Year Silence. There are two more bands performing tonight, one more local and one which has travelled up from England. The band opening tonight's gig are a Glasgow based band, Layaway. Now, every time I've seen Six Year Silence, their fans turn up early in numbers to catch the support bands, which has carried on tonight, plus, also based in Glasgow brought some of their crowd along too. I have stated in other reviews that I'm not a fan of people who only turn up for the headline band, so bonus points to tonight's audience turning up for Layaway. As we are in The Cathouse Rock Club, there is an early door time as everything needs cleared up before the club opens for it's usual Saturday night frivolity. Layaway take to the stage a few minutes later than advertised, well it is Glasgow! The singer introduces the band and then proceeds to tell the crowd that they have a new album coming out (it should be out whenever you read this) and tonight's set is mostly tracks from said album. Layaway have been around for a while, I first saw them around 2017/18, so they are pretty sure footed on stage and communicate easily with the crowd, this rapport goes down well with tonight's crowd. It seems that with a blink of an eye Layaway have got to the end of their six song set, they leave with great applause and cheering. Next up are our visitors from down south. This will be my first time seeing and listening to Time Stands Still. I was chatting with the bands photographer earlier, she gave a very good report, so by the time they took to the stage, I was looking forward to what they were about to play. Like most people, when someone tells you about a band, especially someone who is pretty close to the band, you tend not to take anything too seriously, especially if, like me, you are as close to the headliners. A quick glance to the set list tells me that Time Stands Still are getting more stage time than our openers, either that or their nine songs are all three minutes long. They are not! Like Layaway, Time Stands Still have a stage presence and are not shy about using every inch of the stage and more. It doesn't take much time to realise, these guys can play, plus there is a great rapport with the crowd, it's not just "this song is called" and they play the song. The singer is a rather chatty guy with the crowd. Personally, this adds greatly to the performance. I get that supporting bands are restricted by time, But mentioning the town/city to get a response is old and boring. I know most bands do it, yes it gets a response, but please, try something different, even if it's "we have merch over there, please buy some" or "we'll be at the merch table after, come say hello". Their set was laid out as two songs, chat, one song, chat, two songs, chat then four in a row, with the odd couple of words thrown in between the final four. Personally, I liked the last four songs more than the first five, I will say, the first five were not poor songs, or filler, I just favoured the last four. I can now say that the bands "tog" was accurate with her comments about the band, Time Stands Still are bloody good, and could quite easily have headlined! I would happily head out to see them again. Time for our headliners. What can I say about Six Year Silence that I have not said in previous reviews. When I started taking photography more seriously, Six Year Silence were one of the first bands I shot. I've got to know the lads pretty well too, even to the point of front man Johnny passing in his car, pulled up to have a chat. In the past, I have described Johnny as being like the lion in The Wizard of Oz movie, no, he is not cowardly, he is a mass of hair, that's just the association I get. Since the last time I saw them, they are now a four piece, rather than the previous five piece. When a band looses one of their guitarists, at times there can be a difference to their sound, however, not tonight. Their sound is just as powerful as before, Greig on the riffs, Iain & Gary pounding out the timing like a well oiled metronome and Johnny up front, an actual powerhouse, like one of my all time favourite singer Steve Grimmett. As always I got the ubiquitous mic toss, big hair and one finger salute shots from Johnny. When it comes to writing a review I will admit I'm not the most observant of reviewers, I'm usually "in the zone" concentrating on the photography, I know, take notes etc, but I forget to take a notepad. I cannot remember if Six Year Silence played thirteen or fifteen songs, not that it matters, they absolutely nailed it, playing a lot of favourites like "I desire" "My Enemy" "King to a clown" and ending with "Monster". As with a lot of bands these days, they do not leave the stage and come back on for an encore, they just play on, the penultimate song was a bit of a surprise, a cover of Soils "Halo", which blew the roof off! I have to admit, Soil could not have played it better themselves. After they ended with the afore mentioned "Monster", the crowd chanted louder and louder for "one more song". Lets be honest here, they could have easily played on, however, The Cathouse is primarily a nightclub, and it is a Saturday night, the club opens at eleven, it's now just after half past ten, it is time to say goodnight, I did contemplate staying behind with the bands, however my wallet started laughing, don't you just hate when that happens? As always, if you don't know any of the bands here, or even if you do, head over to your favoured streaming platform and give the bands a listen to, even better, check out their web pages or social media pages and see if they are playing near you, buy a ticket and go see them perform live, there is nothing better than taking in a live gig. See you at the barrier.
When people talk about The Big Four in thrash metal they mean Metallica, Anthrax, Megadeth and Slayer. As I am not a huge fan of American heavy metal, when I talk about The Big Four, I mean bands from the UK. Acid Reign, Onslaught, Xentrix and Sabbat. Tonight, the masters of British thrash metal are back in Glasgow. Acid Reign have returned to Audio! Acid Reign are from Harrogate, Yorkshire, you wouldn't think that by the way frontman (and only remaining original member) Howard "H" Smith talks, he has said a few times that Acid Reign in Audio is like coming home. The band were formed in 1985, split in 1991 and reformed in 2015 and have played Glasgow several times since reforming. One thing guaranteed at an Acid Reign gig is, you are going to leave the venue with a smile on your face and in pain, especially if you are standing close to the stage, there are going to be virtually constant stagedivers and a pit! I'll get back to this later. As usual, the doors are a little late in opening, it's only a few minutes, but still not on time. I LOVE this venue. During most of the twenty teens Audio was like a second home to me, it was, and still is a venue to see great bands and a great night, again, tonight is no exception. The first band to grace the stage, are a Scottish band, a five piece, from Perth, they are Killscythe. Unlike many of the Scottish heavier bands I have seen, Killscythe don't try to sound similar to the American "Big Four" ok it's thrash metal, it is a niche genre which has it's own recognisable style and sound. Killscythe fit in well in both style and sound but are more akin to the UK "Big Four" than the American, which suits me just fine, even though one of the guitarists is wearing a Testament t-shirt. They only have thirty minutes, half a dozen headbanging songs pounding out one after another, I have to admit, it's not that easy to headbang and use a camera at the same time, but I think I managed. Next up are a band I thought I recognised, not just by sight, but by their first couple of songs, however, Enquire Within's frontman announced that this was their first time playing Scotland. The band, also a five piece, formed back in 2016. I've only been to two gigs outside Scotland since 2016, one was Download 2016, the other was for Paradise Lost in London in 2023, neither which Enquire Within played, so I have no clue where this familiarity comes from, oh well! Enquire Within have forty five minutes of fist pumping, headbanging thrashing heavy metal. Once again I am focused on photography I forget to get the setlist, I thought it would be easy to catch a shot at the end of their set, but setlists don't hang around for long when the crowds are inches from the band. Enquire Within are perfectly suited for tonight's show, another twin guitar thrash metal band, maybe it's just me, but I'm getting Pantera vibes from the lads, I'm not saying they look or sound like Pantera. I don't know what it is, but that's what I'm getting from them. Having seen Pantera back in the nineties, maybe it's the energy, but that's what I'm feeling tonight. I can't wait for them to come back to Glasgow. It's break time again, and as usual between bands a conversation starts with people around, one guy, in his fifties (like myself), states that this is his first time in Audio, he is impressed with the overall experience, and this is his first time seeing Acid Reign. Where have you been man! A few of us take turns to describe what kind of night he is in for, he looks around, then states "most of the crowd are roughly my age. There is no way in hell that there will be stagediving and about the same chance of a pit!" If looks could kill lol As I have said above, Acid Reign were formed back in 1985, but only have four studio albums, the fourth being the current one, hence this tour. Before I get into the bands set, I posted on my social media page that tonight is bitter sweet, tonight is my first intense metal gig at Audio since the passing of "Papa Mosher" Peter Mitchell. Peter, even in his sixties, he was the instigator in starting both the "Mosh Pit" and stagediving. No matter who went "over the top" Peter made sure everyone was safe! The inmates have managed to free themselves from the asylum and are entering stage right! Like every band advancing to the stage, Acid Reign face a cacophony of noise welcoming them back to Audio. They are a heavy metal band, so they are dressed appropriately, apart from frontman "H", who was wearing what can only be described as a hoodie, except the one he was wearing went all the way to the floor. Set opener was the opening track "The who of you" from the new album "Daze Of The Week". A further six songs from the album will be performed from tonight's fourteen song set. Next we get hit with "Goddess" from the bands first E.P "Moshkinstein" I then feel a hand on my shoulder, I half turn around, there is a certain Mr Peebles scrambling onto the stage! There goes the first one "over the top" Many years ago Lawrie Peebles was one of a group of teens who came along and became part of "our" metal family, and one whom Peter helped Lawrie with his first to many "over the top" stagedives. Remember that guy at the break? Next is the title track from the album "Daze of the week" then another crowd favourite, "Humanoia" from their first album "The Fear". It is now raining bodies. Several songs pass, bassist Pete Dee, no relation, heads own into the crowd, another song or two, then it's time for H to leave the stage, previously when playing Audio, H likes to perform on the actual bar, tonight is no different. At one point H also stagedives and is carried round the venue. Acid Reign usually throw in a cover version to their set, tonight we get two! Firstly, a thrash metal version of Blondies "Hangin' on the telephone" which was released as a single at Christmas nineteen eighty nine. The other cover was "Just sit there" by Crumbsuckers. Final song is "No truth" from "Daze of the Week" H announces that he wants some photos of the band with the crowd, he then asks me to come on to the stage to take some photos. This is a surreal moment for me, I have never been asked to do this before, especially from a band I love, I have muscled my way on stage before and grabbed an end shot, so being invited was special. First song of the encore, "Fantastic Passion" from "Daze". H gets the crowd to put both arms up in the air, bassist Pete beckons me on stage to capture H leading a room full of mostly fifty year old heavy metal fans, waving their arms from left to right, I'm ushered off stage for the final song, another from their original EP "Moshkinstein" the song that everyone sings along to, a song written about the classic movie "Psycho", "Motherly Love". The crowd are in a frenzy! The band then take their accolades from the crowd, I am then invited back on stage for the end photo. Photo done, thanks and handshake from H. Gig over? Not quite. H is back on the mic, chatting with the crowd, I don't quite catch what he was talking about, but I do catch "health and safety! H heads towards Audios "green room", stops at the door where a six foot stepladder stands, H grabs the ladder, a huge roar comes from the crowd, yeah they know what's coming, H just cant stop performing, he opened the stepladder on the edge of the stage, climbs to the top and propels himself from the top of the ladder into the crowd below! No band ends a show like Acid Reign! As always, if you do not know any of the bands, head along to your favoured streaming platform and have a listen. You may find something you like.
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