I still remember the first time I listened to Crimson Glory. It was a gray autumn afternoon back in 1988; the only gray thing about that day was the weather, because my mind was blown when I discovered such an incredible record. From that moment on, I was hooked by the overwhelming energy the band displayed on their early albums. Today, when I put on their new album "Chasing the Hydra," I felt that old magic again—those songs so carefully structured between the progressive and the fantastic. Even though two of the original members are no longer there for different reasons you don't really miss CG; their spirit is still present. The songs are written with personality, with a modern touch but never sacrificing the soul that made them a household name around the world. After 26 years since their last release—with a record that, while very good (Astronomica) — returning with something new for their most loyal fans was clearly a difficult bet. Today, they embrace us again with Travis Wills…lot of personality of his own. He doesn't give up his style but adapts wonderfully to the band's particular sound. Mark Borgmeyer replaces Jon Drenning, and his work stands out alongside the three original members of the band: Jeff Lords, Ben Jackson, and Dana Burnell. All of them have achieved a perfect symbiosis to revive a sleeping giant that has come back to stay. The songs hit us right from the beginning-"Redden the Sun" opens with that energy that the best CG had accustomed us to. "Chasing the Hydra," the title track, assures us that this is going to be big, and the rest of the compositions follow a precise, atmospheric, deep, and dynamic rhythm that made these gentlemen from Sarasota become - and remain—great exponents of metal. "Broken Together, "Angel in My Nightmare," a great single that delighted us and brought back the excitement of witnessing this fantastic rebirth, along with "Indelible Ashes," "Beyond the Unknown," "Armor Against Fate," "Pearls of Dust," and "Triskaideka," sum up a work well worth listening to. Lifelong fans will be more than satisfied, and those who have never listened to the band will discover a new world full of the magic that Crimson Glory has gifted us. For both groups, the result is a brilliant album worthy of the history of this great band.

St Patrick’s Day in the east end of Glasgow can only mean one thing – Stiff Little Fingers at the Barrowland’s. This is the bands 33rd St Patrick’s Day gig at this most iconic of venues; this is a run that, I think, started in 1993. I have not been at all of them, but I have been at most of them. I guess that raises two questions, why do they keep coming back and why do I consistently make the journey to Glasgow each March? I read earlier in the week that front man and lead provocateur, Jake Burns, loves the atmosphere of the venue, the affection the audience have for the band and the sheer terror of standing at the side of the stage as the crowd sing “Go For It”. But why do I keep coming back, well, it’s a lot of things. Tonight, Jake made a point of saying the band never set out to be political. For me, they always have been – “Suspect Device”, “Tin Soldiers” and “Wasted Life” point clearly to that. That was something I always loved about proper punk, the politics of it all baked into the heartfelt belief that a song could change the world. These Fingers anthems, all of which were given a run tonight, keep me believing in that. I love Fingers for the romance of it all. Not just the teenage, love stuff; magnificently wrapped up tonight in the glorious “Listen” which made a very welcome addition to the set, but also the romance of knowing things can get better, new song “Raise Your Heart” was testament to that. There’s the romance of what could have been different for Sonny Liston, sung with passion in “Walking Dynamite” or that young people are actually just fine and will eventually come from the pupa as well adjusted butterflies – “Bits of Kids” tells that story so well. I also come back because I love hearing the stories behind the songs; Jake’s dad looking for royalites for giving some, no doubt well intentioned, advice that turned into “At the Edge”. Or the band’s friendships with Spandau Ballet and The Specials, the latter of which saw the robbery of a song that became a stick out for both bands in very different ways, each made “It Doesn’t Make it Alright”, alright. I also come back to be part of the tribe. We are all looking a bit older, some fatter and many balder but we are all still there. It was great to be with pals who I have been watching and listing to SLF with for many years, in Big Andy’s case, since out teens. This love of punk has been a bedrock for so many friendships and, once again, tonight I am grateful for what music has brought me. I also come back simply for the great live show Fingers always present. Musically, I genuinely think the band are at the top of their game. Ian McCallum haunts the side of the stage. He is always a guy who stays out the spotlight but just takes care of his business. There are parts of the show when he is not playing, and the audible difference is clear and there are other times where this 60-year-old is jumping high into the air as he delivers yet another chord that underpins an anthem. At the other side of the stage there is original bassist Ali McMordie. Mid way through his own 6th decade he has the muscle and body tone many a man more than half his age would love, he also plays a ripper of bassline. Like so many punk bands, the SLF bassline doesn’t just support the guitar it has its own melody, its own key part in making the tune a whole experience. Have a listen to “Just Fade Away”; the bass line is masterful. Tonight was clear testament of that. At the back of the band is powerhouse that is Steve Grantly. When encore number “Johhny Was” began, it was Steve who was in the spotlight, the lighting making him look like a cross between Star Trek’s Data and Max Headroom: chalk white, blond quiffed and keeping time with the precision of a phaser set to malky. Finally, I keep coming back to see and hear Jake Burns, I want to be sure he is still doing what he does best, banging out riffage on that green guitar and still maintaining a justified anger at the troubles of the world. Tonight, I thought, Jake was on top form. The band are now in their 49th year. Forty-nine years of trying to change the world one song at a time. Forty-nine years of bringing people together in big rooms and forty-nine years of reflecting on a world of forty-nine years ago. As I listen to “Alternative Ulster” I reflect on how Jake’s ambition has come to pass. The streets of Belfast look so much different now as to how they were when that opening riff was first played. Can music change the world? In all honesty, I don’t know. What I do know is that bands like Stiff Little Fingers have tried and the world has changed a bit and in some shared places, that change has been for the better and driven by many of the tribe represented in the Barrowland’s tonight. This tour is called Raise Your Voice. Fingers have consistently done that, and we have just as consistently, sung along. Next year marks SLF’s half century and they are planning a return to the same venue on the same date in 2027. They will be there, you should come too and I very much hope you’ll see me and my pals standing and smiling. My mates will be even balder, and I will, no doubt, be even fatter but we will still be trying to help change the world, one song at a time.

Every now and again when listening to music a recommendation appears based on your listening history for an artist who you’ve never heard of before, you decide to give it a go and if you’re lucky the song grabs hold of you, elevates itself above casual listening and starts putting down roots within you and demanding repeat playing. This happened to me a couple of months ago. Just when I thought I might be familiar with most of the many genres and sub-genres which exist within rock and metal, a new one sprung up which in name alone fascinated me and felt worth checking out - Appalachian Possum Rock - and the band was Cigarettes @ Sunset, a young band based in Boone, North Carolina. Describing themselves as providing a “raw and soulful blend of Americana, Indie, Appalachian Folk and Rock” might provide you with a sense of Cigarettes @ Sunset’s sound, but this only tells you so much. Adjust the balance a little in the descriptor and what they produce is urgent and immediate big alt rock, with deeply raw vocals, highly memorable lyrics and with by turns haunting, fast and furious violin weaving its way through the songs and providing an even more distinctive sound. Or putting it another way - original, raw, immediate and powerful music made to be played on repeat. The song in question was “Old Bleached Hair” which started off in territory which may not be unfamiliar to fans of The Gaslight Anthem, John Mellencamp or Canada’s The Glorious Sons, but which takes on its own identity as the song progresses and Garret Dellinger’s distinctive vocals become more raw, urgent and intense as the lyrics unfold - “Somebody turn the lights down low in the living room, And I’ll grab a chair, I’m making friends with the ghosts of my youth, And my old bleached hair, Still pressing on a bruise to remember how it felt, When they cut the noose, Still pressing on a bruise to remember how it felt, When they cut me loose”. Very powerful lyrics from a song you’re unlikely to forget. Fast forward to last weekend and the latest new music Friday didn’t disappoint with the release of the Black Crowes’ ‘A Pound of Feathers’, which as a big fan I’d been really looking forward to, but haven’t been able to listen to as I can’t get past listening to Cigarettes @ Sunset’s EP released on the same day. Containing six songs, the EP starts off with ‘My Fix’. Everything about the song is big - the guitars and the urgent chorus with Garrett’s vocals somewhere between a song and a shout, as the distinctive lyrical style continues - “I can taste the nicotine on your lips, Baby, can I get a drag you know I need my fix” Weaving its magic, Sarah Vann’s violin steers the song along. Although different in effect, it’s reminiscent of the rootsier sound the wonderful Lisa Germano brought with her fiddle to John Mellencamp’s ‘The Lonesome Jubilee’. ‘Pavement’ follows, initially offering a mellower and melancholic vibe before the intensity and emotion increases again through the vocal delivery, rising and falling as it continues; with the band skilfully anchoring the song as the vocals soar and threaten to take it away. ‘Theresa’ is the closest the band get to humour here and is candidly about an ex-girlfriend who called Garrett by the wrong name in bed and is followed by ‘Old Bleached Hair’ which has lost none of its impact, has more than earned its re-release and inclusion on the EP, but also never over-shadows the other songs featured which match it for quality note for note and lyric for lyric. Lyrically the content of the EP is quite grungy, gritty and low-fi, reflecting the reality of modern life in rural and mountain towns - smoking in parents’ basements, substance use, mental health and angst but presented in a way which engages, connects and resonates while avoiding being depressing. “Rewind” continues the urgency (getting the musical pattern here?) with Garrett’s and Ryland Bagbey’s twin raw guitars filling the sound, with Wells Whitman’s bass rumbling beneath the surface and Ethan Moore’s drums providing the backbone, while the violin again weaves in and out sinuously to produce that distinctive Cigarettes @ Sunset sound. Switching gears, and revealing another side to their music, the last song on the EP, ‘Leave You (If It’s the Right Thing To Do)’ is a low-key raw and fragile duet sung by Garrett and Sarah accompanied by just violin, bass and muted guitar. Just beautiful. The EP is a very collaborative affair with all five band members sharing writing and production credits along with Taylor Kimball and Cole Covington on Production and Engineering. For a young band (or let’s face a band of any age) this is a seriously impressive release and I really like it. In 1974 the music critic Jon Landau was famously quoted as writing “I saw rock’n’roll’s future and its name is Bruce Springsteen”. While I would personally agree that this bold statement turned out to be true, I’ll try to avoid hyperbole and simply say that since discovering Cigarettes @ Sunset’s music I feel much more confident that rock music is not only still alive and kicking, but is flourishing and in very, very safe hands. The ‘Possom Rock’ EP is available on all of the usual platforms. GMcA

With a voice that’s a half rasp shy of being the full berry and a band that instinctively know how to lock in killer grooves, ethereal harmonies and hooks that could skewer even the most unsuspecting of ears The Karma Effect are churning out singles that could sit comfortably on a greatest hits album let alone the always difficult third album. Having already released the cacophonous cautionary tale of ‘Dangerous Love’ and the playful perfection of ‘Waiting on a Miracle’ we’re now on single number three from the upcoming ‘Cruel Intentions’ album. Put simply, ‘Ride or Die’ is a positively filthy, groove charged, foot stomping, hair swinging, harmony laden, balls out booty call and it simply cannot be played loud enough! On this form it’s only a matter of time before The Karma Effect start gracing the stages that this sort of talent richly deserves, most definitely one to watch this year! Much love SS

Frontiers Music Srl is proud to announce the upcoming release of the “XXX Anniversary Compilation”, a special project celebrating 30 years of passion, creativity, and unforgettable music. The record is set for release on May 22, 2026, and will be only available on CD, on the label’s webstore. To coincide with the announcement, Frontiers shares the new single “Down From The Mountain”, featuring Nicklas Sonne (Defecto, Aries Descendant). Originally recorded by Allen/Lande, the song is reborn through Sonne’s powerful vocal performance, delivering a dynamic reinterpretation of the melodic rock classic. The single follows the previously released anniversary renditions of “Little Drops Of Heaven” featuring Robin McAuley and “Viva La Victoria” featuring Dyan Mair, both offering fresh takes on beloved songs from the Frontiers catalogue. Nicklas Sonne said: “Allen & Lande have both always been a huge inspiration. Recording ‘Down From the Mountain’ was a real honour, and I tried to bring my own voice to a song I’ve admired for years.” Watch the official visualizer for “Down From The Mountain” - https://youtu.be/xHuvs5ElrJc?si=SUKk6jB8TrCnAFnr Pre-Order “XXX Anniversary Compilation” - https://ffm.bio/xxxanniversary Starting from an Idea of Serafino Perugino, the “XXX Anniversary Compilation” brings together some of the greatest melodies and voices from the world of melodic rock. This special release celebrates the label’s rich legacy by revisiting iconic tracks from the Frontiers catalogue, reimagined with dynamic new performances from an extraordinary lineup of guest vocalists. Each track has been recorded exclusively for this anniversary project and showcases the powerful reinterpretation of beloved Frontiers classics through the voices of today’s standout rock artists. Aldo Lonobile, Head Of A&R Europe at Frontiers Label Group and producer of the record, commented: “Producing the 30th anniversary record for Frontiers Records has been both a honour and a responsibility. This label has built a legacy on passion and vision and, with this album, we wanted to celebrate that history in a meaningful way, having a mix of established and new generation of Frontiers artists reinterpret the iconic tracks that shaped our identity is more than a tribute - it’s a bridge between eras”. “With a tracklist discussed together with the Frontiers President Serafino Perugino, this record is a celebration of where we come from, and a powerful statement of where we’re headed”, he continued. Under the expert production of Lonobile – who also performs part of the guitars on the album - the performances are backed by a stellar lineup of musicians: Alessandro Mammola (guitar), Andrea Arcangeli (bass), Cristian Timpanaro (bass), the keyboards team – Alessio Lucatti & Antonio Agate, Alfonso Mocerino and Fortunato Grillo on drums, delivering powerful new arrangements that bring renewed energy to these fan-favorite tracks. The “XXX Anniversary Compilation” isn’t just a compilation - it’s a tribute to 30 years of rock excellence, a heartfelt thank you to the artists, fans, and collaborators who have been part of the Frontiers Records story. Whether you’re a lifelong supporter or discovering these songs for the first time, this album delivers powerful performances, soaring melodies, and the unmistakable spirit of Frontiers. “XXX Anniversary Compilation” Tracklist: 1. Separate Ways (Feat James Robledo) 2. Watch The Fire (Feat Cassidy Paris) 3. Weight Of The World (Feat Karmen Klinc) 4. Viva La Victoria (Feat Dyan Mair) 5. Hypocrisy (Feat Stina Girs) 6. Edge Of Tomorrow (Feat Ronnie Romero) 7. Love Will Set You Free (Feat Santiago Ramonda) 8. Songs That Night Sings (Feat Tezzi Persson) 9. My Guardian Angel (Feat Fabio Caldeira) 10. When The Heartache Has Gone (Feat Mattias Olofsson) 11. No More Hell To Pay (Feat Giorgia Colleluori) 12. Down From The Mountain (Feat Nicklas Sonne) 13. Little Drops Of Heaven (Feat Robin McAuley) “Down From The Mountain” Line Up: Nicklas Sonne – vocals Alessandro Mammola – guitar Andrea Arcangeli – bass Alessio Lucatti – keyboards Alfonso Mocerino – drums

Not being able to make it to their co-headlining gig with Buckcherry in Glasgow, I was happy to pick up reviewing duties for ‘Outerstellar’ the latest album from the Michael Monroe band which has been attracting strong reviews and much interest since its recent release. And it’s not hard to see why. It may just be me, but as a long-time fan of Hanoi Rocks, Demolition 23 and Michael’s solo career, the band’s last two albums - ‘One Man Gang’ (2019) and then ‘I Live Too Fast to Die Young’ (2022) - were solid enough, but felt as though they were missing something and haven’t withstood or encouraged as much repeated listening from me as some of their earlier work. However, after only a few listens, I’m pleased to report that ‘Outerstellar’ finds the Michael Monroe Band rejuvenated, revitalised and refreshed, and at the top of their game with one of their most diverse releases to date owing largely to the welcome return of the inclusion of more band co-writes on the album in addition to more songs written by different band members. Clocking in at 12 songs and 43 minutes, ‘Outerstellar’ is quite the musical ride. First single and opening song ‘Rockin’ Horse’ bursts out of the speakers with intent creating a wall of sound above a rolling ascending and descending riff which Batman would’ve been proud of, broken up by chopping guitars and a big chorus. Strutting and swaggering into more familiar territory, ‘Shinola’ provides a big glam/punk showstopper with all of the makings of a live favourite written all over it and is followed by the at times more Alt, moody, heavy and almost Black Keys and White stripes-leaning ‘Black Cadillac’ - the first of three quite different songs. Entering the second quarter of the album is where the diversity in sound really opens up. The Conte-penned ‘When the Apocalypse Comes’ is far from the doom-laden territory suggested by the title and features wonderfully uplifting jangly guitars, an almost Dylan-esque vocal, and as a song sounding very much in Heartbreakers territory, but of the Tom Petty kind instead of their more usual Johnny Thunders variety; another Conte song ‘Painless’ turns the dial effortlessly and confidently to Eastern, psychedelic, brooding and trippy; and ‘NewtroBombs’ takes us firmly into Wildhearts territory and you could have been forgiven for thinking it was 2010 and Ginger was still in the band. ‘Disconnected’, the second single from the album, grabbed me the second I heard it on Planet Rock radio while driving and I had to turn the volume up before I even knew who it was. Full credit to Rich Jones. This is a massive song which could attract a much wider audience. Starting with Sami’s rumbling bass accompanied by Karl’s bass drum and sparing hi-hat, before a searching guitar, half-spoken vocal and chords layer on, the song then builds up as the verse progresses into a soaring and shout it to the rooftops chorus which we could still be singing when we’re dead. How do you follow that? A question also asked by other acts if unlucky enough to be on stage after the Michael Monroe Band, but on this album … not a problem when you’ve got the wonderfully melodic chorus of ‘Precious’ up next. Another couple of up-tempo songs of the type the band produces so effortlessly follows in the form of ‘Pushin’ Me Back’ and ‘Rode to Ruin’, but sandwiched between them is ‘Glitter & Dust’. What can I say about this song other than it’s just a beautiful song whose acoustic intro will have your heart in a mess before Michael’s gently sung (yes, sung - no big rock vocal here) vocals capture your soul. Lyrically reflective, the song finds him displaying a raw tenderness and vulnerability in his intimate and almost confessional vocals. For a band more known for short blasts of glam/punk, the unusually long album closer ‘One More Sunrise’ at 7 minutes and 40 seconds has an epic dream-like quality to it, without a second of slack and doesn’t over-stay its welcome …. and providing a tantalising aural glimpse of what ‘Tommy’ might have sounded like if The Who had been a glam/punk opera starring Lou Reed. And it that’s not enough you need to order yourself a copy of the Japanese version of the CD, as I did, which contains an additional entire bonus album with 11 songs captured live during an acoustic set at ‘On The Rocks’, Helsinki, in September 2024. Closer in nature to MTV Unplugged, with the full band including bass and drums, than just a guy with an acoustic guitar, this bonus CD is pretty special. Highlights include ‘Hammersmith Palais’ which in its stripped back form here is a completely different and more emotional song to that recorded by Demolition 23 and appearing regularly in the band’s live set; great covers of Sylvain Sylvain’s ‘Medicine Man’ and Stiv Bators’ ‘The Last Year’; a brilliant version of the always fun ‘Boiler (Me Boiler ‘n’ me)’ with the band sounding here like a Finnish Faces, ‘Ballad of the Lower East Side’ and ‘Up Around the Bend’. Wonderful stuff. The Michael Monroe Band are - Michael Monroe - vocals and saxophone Steve Conte - lead and rhythm guitar, and backing vocals Rich Jones - lead and rhythm guitar, and backing vocals Sami Yaffa - bass and backing vocals Karl Rockfist - drums ‘Outerstellar’ is out now and is available on all of the usual platforms. GMcA

TAKEN FROM THE FORTHCOMING ALBUM YOU GOT THIS RELEASED ON APRIL 17TH 2026 PRE-ORDER HERE FIVE DATE IN-STORE UK TOUR WEEK OF RELEASE PLUS HEADLINING RADAR FESTIVAL, MANCHESTER + APPEARING AT BLACKBIRD, BOOMTOWN & BEAUTIFUL DAYS FESTIVALS WITH TOUR DATES ACROSS EUROPE & AUSTRALIA Welsh ragga metal legends Skindred have released their brand-new single ‘Can I Get A’, which receives its radio world-premiere on Craig Charles’ show on BBC 6 Music this afternoon. With a jaunty electro-honky-tonk intro leading straight into a infectiously singalong pop chorus, complete with “woop-woops”, ‘Can I Get A’ is an inspiring song of resilience and defiance, with playful sonic nods to the ‘80s, including a Phil Collins-style drum break and a soaring gospel backing vocal. However dig deep into the lyrics of ‘Can I Get A’ and you’ll uncover a mini autobiography in song, addressing issues of childhood poverty and family hardship, made bearable through the love and support of those closest to you. It takes lead singer Benji Webbe back to being orphaned as a child, and how he was raised by his older brother who was little more than a kid himself. “It’s me as a child seeing my friends with all these amazing things that people take for granted that I never had,” he explains. “I was eleven years old and was worried what my life would become. A lot of kids where I lived got into trouble and ended up in prison. I was just gonna grab that microphone and see where it would take me. I want to empower people to know that you can be what you want to be. Don't spend your life worrying about what you haven't got. Live your life because now is the time.” The track is accompanied by a brilliant, tongue-in-cheek video, featuring the band performing alongside male and female dancers inside whirling graphics. Watch the video HERE . You Got This is Skindred’s ninth album and is an all-killer-no-filler set which features everything that people love about the band – hard-hitting slammers, mega addictive hooks, earwormy soundclash elements, and dancehall vibes destined to ignite venues across the globe. The title track was released as the first single from the album late last year, accompanied by a brilliantly entertaining video. And it was followed in January by the fiery and fizzing hook-laden banger ‘This Is The Sound’. Production for the album came from the Grammy-winning Jay Ruston, who drummer Arya Goggin admires for having the songwriting chops to work with ‘80s power ballad master Desmond Child, while also producing Slipknot’s Corey Taylor and Mike Patton’s, Mr Bungle. The new album finds the Newport trio – completed by guitarist Mikey Demus – embarking on a thrilling journey to follow the mainstream breakthrough that came with 2023’s critically-acclaimed album Smile. That album shot straight into the UK Official Album Chart at #2 and Skindred went on to receive the Best Alternative Music Act Award at the MOBOs, also winning Best UK Act at the Heavy Music Awards. Long-revered as one of the best live bands on the planet, they played their largest headline show to date at Wembley Arena and toured the world, smashing every festival and headline performance and winning tens of thousands of new fans in the process. Those new fans will join Skindred’s long-established rabid fanbase in lapping up every note and lyric of You Got This. The tracklisting for You Got This is: You Got This Can I Get A Born Fe Dis This Is The Sound Broke Glass Big ‘Em Up Do It Like This My People Give Thanks Dred Or Alive Skindred will be playing five very special shows to coincide with the album release. Thurs 16th April – Circuit, Kingston (SOLD OUT) Fri 17th April – O2 Academy, Oxford Tues 21st April – Electric, Bristol Weds 22nd April – Foundry, Sheffield Thurs 23rd April – Beckett SU, Leeds The band have further UK tour dates as follows: June 27th - Cardiff - Blackbird Festival August 1st - Manchester - Radar Festival August 16th - Winchester - Boomtown Festival August 21st - Ottery St Mary (Devon) - Beautiful Days Festival They are also playing at major festivals across Europe this summer including Austria, Germany, Finland and Czechia, before their first ever headline tour of Australia in September. Tickets and info on all shows available at: linktr.ee/Skindred2026

Derek Davis (Babylon A.D.) releases his new single 'Running Man' on 10th March, out on Apocalypse Records. Watch the teaser here: https://www.youtube.com/watch?v=oww9Lygbjr8&t=3s Fresh off the successful releases of the last two “Babylon A.D.” albums (‘Rome Wasn’t Built In A Day’ & ‘When The World Stops’), Derek Davis brings his creative energy to life with his solo project, penning a brand new explosive up-tempo rocker, 'Running Man'. The funk driven, hard-hitting rock/metal track delivers the angst and vocal delivery for which he is known. Both lyrically and musically, the track speaks to the frustration and passion of the forgotten man in today’s ever changing world. The AI evolution and political divide that shapes our thoughts and lives are explored through his cinematic story telling. “Running Man” is a rock anthem at its core, with an uptempo fist pounding funkifed bass line and searing guitar riffs, the hooks never stop. Davis’s exploration of combining Hard Rock, old school R&B and Funk is awe inspiring and leaves the listener wanting more. Having played all the instruments, mixing and producing the track, as well as editing and creating the accompanying video, he once again proves to be a visionary force in the music industry. Derek Davis is a multi-talented performer, singer, songwriter, musician and producer who delivers it all with 'Running Man'! Derek Davis: Davis has showcased his extraordinary singing, songwriting, and musicianship in several areas. He has had several songs placed in films and TV, and has recorded six studio albums, three live albums and two EPs with the band Babylon A.D. He also wrote all the tracks, produced and released the band “American Blues Box” album and wrote, created and produced three solo albums “Revolt”, “Revolutionary Soul” and “Resonator Blues” as well as seven solo effort singles and videos Over the last few years Derek Davis has performed, produced, wrote or co-wrote all the tracks for the Babylon A.D.s releases: 2018’s "Revelation Highway” Via “Frontiers Records” - 2023,“ Live Lightning” on Perris/Apocalypse Records, 2024's “Rome Wasn’t Built In A Day”, Perris/Apocalypse Records and in 2025, “When The World Stops” from Kivel Records. He has also created 10 Videos in this time for each single released by the band, and has done multiple tours in the United States, the U.K and Greece, proving once again the band's staying power in the history of hard Rock. PRESENT DAY… As 2026 begins Derek Davis a has full schedule set for the rest of the year. Two more video/singles are scheduled for release by Babylon A.D. Davis is in full throttle writing mode for his next solo effort, another Soul inspired Funk Rock album that is set for release in the fall. The first track “Running Man” will be released on 10th March as a single and video. Over the years, Derek Davis has amassed a published music catalogue of over 200 original compositions, very impressive and quite suitable compared to other artists. Derek has also mastered his video editing skills and production skills and is always trying something new to expand his musical journey. Derek Davis is the consummate, Singer/Songwriter/Musician/Producer, a born creator with a natural gift in the music landscape of our times

Lucky Glasgow – a prime Sunday night of dirty, sleazy rock & roll by way of a co-headline tour show featuring two of the most compelling, captivating and entertaining frontmen you’ll ever see. Not a bad way to start the month of March. To kick us off, there was a really solid and enjoyable set from Boston MA band Rubikon. They have been around the world and around the block a few times, and after 25 years, the line-up is still the same five groovy fuckers that they started with. They seem to be a very under-the-radar kind of band, but with a lot of gems in their back catalogue, a new record called ‘Wasteland’ to share, a crowd-pleasing tribute to ‘the Biffy’ with ‘Many of Horror’ and a redoubtable stage presence, they did a very fine job of warming up the room. Michael Monroe had a spring in his step and made me feel like shit. He’s only four months older than me, but he still “moves-like-Jagger and looks-like-Blondie” and can play the sax and kick his own height, whereas I’m now a baldy old tosser that can’t even kick his own arse! The ultimate and most authentic-looking glam-rocker; Michael’s gutter punk poetry took us on a wham-bam world tour of sleazy hot spots from London (‘Old Kent Road’ and ‘Hammersmith Palais’) to Japan (‘Last Train to Tokyo’) and LA (‘Malibu Beach Nightmare’). Of course, he didn’t leave out the scuzzy bits of NYC, where he found Steve Conte, on the alternative ‘Fairytale of New York’ that is ‘Ballad of the Lower East Side’ – a hymn in praise of all the “junkies, pimps and whores” back in the day, and hallelujah and amen to all that. ‘Dead, Jail or Rock ‘n’ Roll’? I’ll take the rock ‘n’ roll please - I might be bald but I’m still too pretty for jail! The new album ‘Outerstellar’ is a cracker too, and highlights of the set included ‘Disconnected’ and ‘Shinola’ from that platter, plus old Hanoi Rocks favourites like ‘Don’t You Ever Leave Me’ and their cover of ‘Up Around the Bend’. Despite having all-stars like Conte and Sami Yaffa on the stage, the second-hardest working man up there was Michael’s assistant, who spent the whole set picking up discarded mike stands and taking care of trailing and snagged cables as the main man romped all over the place in a high energy performance, adorned with hi-viz clothing, battery-operated millinery and sometimes shades, although there was nothing handy for him to climb tonight. After a thoroughly entertaining set, patrons were then able to visit a very well-stocked merchandise table, which included unique items like hand-fans, sleep-masks and even a tour programme, alongside more traditional fare. Buckcherry are on a mission to bring the danger back to rock & roll and they ‘Lit Up’ Glasgow by bringing out the big guns right from the start, backed up by monster newer songs like ‘So Hott’ and ‘Roar Like Thunder’. As ever, tattooed, toned and bouncy bad boy Josh Todd was the focal point, prowling the stage like a well-inked Tigger and putting some sexy into his dance moves, while sermonising and testifying like the potty-mouthed, razor blade-throated rock & roll missionary prophet that he is and always will be. I didn’t win the topless sweepstakes as he didn’t get his kit off until after ‘Ridin’’ which was the 4th song of the night, but it was worth the wait for the appreciative girlies down the front. ‘Sorry’ was the emotional spot in the set, and Josh still sings it like he means it, but he followed it up with ‘Porno Star’ and somehow, I think ‘Say Fuck It’ is what’s really in his heart these days and that joyous middle-finger of a song was the big singalong sensation of the set. It ended, as it should, with the always relatable ‘Crazy Bitch’ – this time an extended version featuring snippets of James Brown and Tina Turner among others, accompanied by some super-fly syncopated dance moves and band introductions. This was most definitely a good time and if you didn’t know that winter was coming to an end before, you certainly felt that better days were ahead when you left. Happy days.