When guitarist and singer Andrew Knightley moved out of London and into the Chiltern Hills, he found inspiration in the birds that circled overhead. To him, the Red Kites represented freedom, a freedom that Knightley has endeavoured to carry into his music making. Sticking with the power trio format of his previous band (that’s Trident Waters, in case you were wondering), AK and the Red Kites serve up similarly grooving blues influenced riffs, but draw from a broader palette across the eleven tracks that make up debut album ‘Hotter Than The Sun’. Leaning into catchy melodies and memorable choruses, there’s an immediacy to the tracks here, a warmth indebted to Knightley’s voice which is at times reminiscent of Chris Cornell. But credit also to drummer Ash Sims and bassist Rob Hoey, who inject plenty of stomp and swagger throughout, ensuring that the likes of ‘Born to Lose’ and ‘Pearl’s Before Swine’ invite you to get up and move. ‘Karmic Rituals’ is dominated by a spectacular, juddering riff so addictive that you’ll find yourself going back for more. The title track is similarly hypnotic, a lust fuelled celebration of an enchanting woman that’s heavy on the wah pedal and heavier on desire, Knightley occasionally lowering his voice to almost a primal growl. It’s a technique he utilises again on ‘Trouble Again’, a song marked with attitude and slinky guitar prowess. ‘Sierra Starlight’ demonstrates restraint, the swampy, Southern styling quite different to the rest of the album but just as absorbing. Some of the best albums are the ones where it feels that every track has the potential to be a single, and that’s certainly the case here. ‘Stronger’ is particularly, er, strong, the uplifting sentiment of the chorus surely very effective on stage. ‘Hotter Than the Sun’ is out now. Come and feel the heat.

OUT 5TH JUNE VIA BIG MACHINE ROCK

SET FOR RELEASE ON OCTOBER 16, 2026, VIA FRONTIERS MUSIC SRL

I’m not sure I’d have paid much attention to Creeping Jean if they hadn’t put on an impressive performance supporting Rival Sons at Folkestone’s Leas Cliff Hall last year. Everything I’d read labelled the band indie, and hence, not of much interest to me (sorry indie fans!). But to see the band live was revelatory, an explosion of hard rocking riffs and charisma quite unlike anything else. So tonight I’m back in Folkestone, at the smaller Quarterhouse to see Creeping Jean step (or should I say creep?!) into the headline spot. I’ve had a look around, and there’s no sign of Jimmy Page in the audience which is a bit of a bummer; I’d hoped that his experience watching the band in London might have been enough to lure him to the South East coast! I’m joking, of course, but an endorsement from the Led Zeppelin legend is nothing to be sniffed at, and I’m surprised that it’s not a little busier in here. At £12.50 a ticket for three bands on a Saturday night, this deserves to be sold out. Thankfully, a bit of a crowd has formed by the time The Worry People make their entrance. A trio who look scarily young (but so many people do now I’ve hit my mid 30s!), they play the kind of guitar music that I struggle with. There’s nothing wrong with it, and actually, they’re very good at what they do. Guitarist and singer Sam Stewart has a lovely voice that (I think!) is reminiscent of Sam Fender. But, for me, indie just hasn’t got enough groove or riffs to really get me excited. In contrast, the three men who make up The Beyene Affair have more groove than most! Smooth and utterly funky, they are impressive musicians who successfully fuse jazz, soul and rock into their sound. They’re joined on stage this evening by Thomas Elliott, who occupies an unusual role in Creeping Jean. Part time tambourine shaker, singer, guitarist, and full time focal point as he dances across the stage, he’s relatively restrained in his guest spot, sticking largely in one place behind the microphone and filling out the harmony vocals. But returning to the stage with Creeping Jean, he’s an intense and dynamic presence; the perfect visual for a band who are as much about the aesthetic as the music. And if you’re wondering about the aesthetic, it’s all about flared trousers, snazzy boots and ornate rings, tousled long hair topping the look. It’s an image straight out of the 70s (and probably straight out of founder Olly Tooze’s vintage clothes shop!), and their raucous sound originates somewhere from that same era, though Tooze’s snarling vocals lend a more modern, garage rock feel to proceedings. I’m immediately taken with the big, grooving riffs of ‘Ten Kisses’ and ‘The Rattle’, but it’s the chemistry of the band that takes their performance to another level. Some groups just play the songs, Creeping Jean utterly inhabit them, and the energy is infectious. ‘Sassy Got Shakes’ is an invitation to dance, and though I’m sure I’m not “disco fire” like the lady described in the lyrics, I do at least find myself moving around a bit! From the dreamy, psychedelic throwback of ‘When’s the Blowout’ through the frantic restlessness of ‘Spice Rack’, there are no weak moments. An hour flies by in a flash, and of course we demand an encore. The choice of the Stones classic ‘The Last Time’ doesn’t exactly shake off the feeling that I’ve stepped back in time, but I’m all for it. If they hadn’t left their merch in Southampton, I’d have taken one of everything. Creeping Jean is a band you’ve need to go and see before the stages get bigger. Believe the hype - Jimmy Page knows a good thing when he hears it. SETLIST Ten Kisses/The Rattle/Spice Rack/When’s the Blowout/Sassy Got Shakes/The Big Cheese/Business is Dead/Money Road/Warm and Fuzzy/Bandit/The Last Time

SET FOR RELEASE ON JULY 24, 2026, VIA FRONTIERS MUSIC SRL

SET FOR RELEASE ON JUNE 19, 2026 VIA FRONTIERS MUSIC SRL

Review by MB Photography Scotland So here we go, a unique event in a cinema with a huge screen and hopefully some Maiden classics cranked up to 11, yes, we are at Burning Ambition, the long-awaited documentary about one of the world’s biggest heavy metal bands IRON MAIDEN. The lights dim but no Pearl & Dean “papa papa papa papa pah” before and disappointingly no “Doctor Doctor” intro to the film. I think Universal missed a trick here. However, onto the “rockumentary” itself. There is a specific kind of grit and determination required to sustain a heavy metal legacy for over five decades. It’s not just about the riffs or the mascot; it’s about the blood, the sweat, and an almost fanatical devotion to the "Maiden" machine. This documentary, Burning Ambition, serves as a definitive, high-voltage chronicle of this journey—a film that captures the soaring highs and the bone-shaking lows of the world’s premier metal institution. The film opens with the raw, pub-circuit energy of the early 1980s. While much of the history is well-trodden ground, Burning Ambition shines in its inclusion of unseen backstage footage. These grainy, candid moments offer a glimpse into the chaotic friction of a band on the verge of global dominance and all driven by the passion of founder Steve Harris. Central to this early tension is the departure of Paul Di’Anno. The documentary doesn’t shy away from the reason of his exit. In a particularly poignant narration by Di’Anno himself he reflects on the "extreme lifestyle" that eventually led to his dismissal. He offers a sobering self-assessment, admitting that he essentially chose the self-destructive path of the rock-and-roll archetype over the discipline required by bassist and founder Steve Harris. It’s a moment of rare, bruised honesty that sets the stage for the band’s first evolution and the introduction of current singer Bruce Dickinson. Not short on confidence he also tells as to how he got the job and his self-assuredness shows, something that a front man requires. The film expertly navigates the revolving door of legendary talent. We see the arrival of Nicko McBrain, whose infectious personality and power became the band's heartbeat. However, the documentary shifts its tone when discussing the mid-90s. It captures the exhaustion that led to Bruce Dickinson and Adrian Smith leaving the fold after years of that cycle of recording/touring then rinse and repeat without much in the way of a break. 5 albums worth and we know what happened. The narrative paints a picture of a band that had quite literally conquered the world once, only to find themselves burnt out by the relentless cycle of "World Slavery." The introduction for 2 albums of Blaze Bayley was supposed to keep the juggernaut rolling but alas the band fell on leaner times especially in the US where some of the venues were only being filled with 1000 paying gig goers, something that was alien to the band. Blaze narrates that he really enjoyed his time in the band but when the call came that Bruce was back in the band, he ultimately knew it could happen. The silence of those middle years makes the eventual "Reunion Era" feel all the more triumphant. When the film pivots to the recording of the “comeback” Brave New World album, the energy on screen shifts from black-and-white weariness to technicolour revitalisation. It was the moment they conquered the world a second time, proving that Maiden wasn't just a legacy act, but a living, breathing force. While the band members are the stars, Burning Ambition argues that the fan base is the actual hero here. The film spends significant time exploring the global "Maiden Family." From the streets of São Paulo to the arenas of Tokyo, the documentary illustrates a level of devotion that borders on the religious. The filmmakers expand on this by showing how the fans have evolved alongside the band. It isn't just about teenage rebellion anymore; it’s about three generations of families wearing the same Eddie shirts. The film captures the "Trooper" spirit—a mutual respect where the band gives 110% because the fans demand nothing less. Big name stars like Scott Ian (Anthrax), Tom Morello (RATM) and film star Javier Bardem recount their Maiden memories and how much of an influence on them the band were and still are to this day. However, the film doesn't concentrate on all the glory it also addresses the recent difficult periods: the throat cancer that Bruce Dickinson had and overcame and the departure of Nicko McBrain. I remember the day this was announced and for a 55-year-old man I admit I shed a tear and my heart started to crack. My favourite band for the last 44 years were showing signs of maybe ending. Following his stroke, the footage of Nicko is difficult but deeply moving. He speaks with his trademark humour, yet with a newfound vulnerability, admitting that his body could no longer keep up with the physical demands of the job and admitted to Steve Harris that he couldn’t play The Trooper or Somewhere In Time as it needed to. Steve tells Nicko “just play it straight.” Seeing a titan of the drums acknowledge his own mortality is a heavy moment, yet it is handled with immense dignity. Burning Ambition is more than a music documentary; it is a study in resilience. It shows how Iron Maiden transitioned from East End underdogs to one of the world’s biggest heavy metal bands through sheer refusal to compromise. As a massive Iron Maiden fan this reviewer was left slightly disappointed that nothing new was gained and that things weren’t delved into deeper. Personally I would like to have seen some more in-depth behind the scenes stuff, a delve into their storage units, a look at the guitars and maybe the members of the band actually being on screen in an interview situation. Bring the recent "Infinite Dreams" coffee table book to life a little. Give the die-hards something they didn’t know. The soundtrack while we know it back to front, could have been a little more in your face. Maybe it was the cinema but a few more notches up on the volume would have helped. Today, they stand as the gold standard of the genre. Whether you are a lifelong member of the fan club or a newcomer to the "Iron Maiden" world, this film is an essential testament to the power of the riff and the enduring bond between six men, the ones that went before and the millions who scream along with them. Incidentally today the release of the not so surprising DVD/Blu-Ray was announced so if you can't catch it on the big screen you'll be able to watch it again and again in ythe comfort of your own home.  Up the Irons.

Set for release on May 22, 2026, via Frontiers Music Srl.

OUT AUGUST 28, 2026, VIA FRONTIERS MUSIC SRL