Photo credit: Tunde Valiszka With the release of their sophomore album, Midnight Blitz, only a few days away, heavy metal band TAILGUNNER fires on all cylinders once again. 'War In Heaven' is a power ballad that truly proves their versatility – a powerful statement in the book of heavy metal. Watch the video for 'War In Heaven' here: https://youtu.be/np25HG13BCg Pre-order Midnight Blitz here: https://lnk.to/TailgunnerMidnightBlitz/napalmrecords This time, producer K.K. Downing is not the only legend that the five-piece from heavy metal’s birthplace could recruit: 'War In Heaven' features Adam Wakeman (Ozzy Osbourne, Black Sabbath, Deep Purple), who just won a Grammy for Best Rock Performance for his appearance at Black Sabbath’s Back To The Beginning, on synths. The feature epically bridges the gap between 80s worship and a youthful, contemporary spirit. TAILGUNNER are unmatched – Midnight Blitz releases this Friday, 6th February via Napalm Records. TAILGUNNER comment on 'War In Heaven': “When the legendary K.K. Downing challenges you to write a ballad, you don’t let him down. Make no mistake, this one hits hard. We went all out and enlisted the help of Adam Wakeman on synths to make ‘War In Heaven’ an all-time classic, just like those iconic 80s ballads from the bands we all love. Walking in the footsteps of giants, no ballad is complete without a blistering, iconic guitar solo, ready for the history books - and ‘War In Heaven’ is no exception.” TAILGUNNER - War In Heaven feat. Adam Wakeman TAILGUNNER unleash their second album, Midnight Blitz on 6th February 2026 via Napalm Records. Bursting onto the scene in 2022, their sophomore work draws heavily from classic British heavy metal, but just like those influences, the band are determined to push forward. Always crafting their sound and building on what they have, whilst never compromising on what they started with - pure heavy metal. In an astonishingly short time, the emerging British heavy metal talent have found support in the very heroes they follow: after making a strong impression supporting KK’s Priest, legendary guitarist K.K. Downing went on to produce the upcoming album, Midnight Blitz. Midnight Blitz is classic Heavy Metal without being pastiche. This is a band for the here and now – not just worshipping at the altar, but determined to stand upon it as the Metal Gods of a whole new generation of headbangers. TAILGUNNER prove their skills effortlessly, carving themselves out as Heavy Metal’s future and grabbing the torch from the legends themselves. Catchy hooks, killer riffs, and appealing to every heavy metal fan – join K.K. Downing and discover your new heroes now. TAILGUNNER comment on new album Midnight Blitz: “Like phantoms of the clouds, the Midnight Blitz screams silently through the air. Descending on their prey, a Heavy Metal militia striking at the speed of sound. Only blood can run! Whilst touring our debut album, we were described by one roadie as ‘The bastard child of Maiden & Priest’ and that became the ethos for our new album Midnight Blitz. Just like our fore bearers, we are determined to push forward, always crafting our sound and building on what we have, whilst never compromising on what we started with – Pure Heavy Metal! We are not just worshipping at the altar of those who have gone before, but determined to stand upon it and be the heroes for a whole new generation! We played over 100 shows touring our debut album, sharing the stages with some of the most legendary names in Metal while paying our dues in blood, sweat, tears and endless nights out on the road. Everything we learned is on display here, packed into 10 tracks in what we feel can be a true, essential TAILGUNNER album. Produced by none other than the Metal guitar God K.K. Downing, working closely with K.K. during this entire process has been the ride of a lifetime and you can hear those touches of a bonafide Metal God throughout this album!” K.K. Downing on TAILGUNNER: “TAILGUNNER is a band we should have seen emerge years ago from the UK. They personify everything that is heavy metal. They are loud and proud, and totally descended from everyone in metal that has gone before – their energy and rawness, together with their brand of metal, incorporates all of the godfathers and much more. Maiden, Priest, Motörhead, Def Leppard – the list is endless. The band has a youthful freshness and a uniqueness that will no doubt elevate them to being a true Metal favourite of the fans.” Catch TAILGUNNER live in 2026: Tour support for Fozzy’s Eyes On You tour: 06.02.26 EN – Brighton, England / Chalk 07.02.26 EN – Margate, England / Dreamland 08.02.26 EN – Manchester, England / The Ritz 10.02.26 EN – Norwich, England / Epic Studios 11.02.26 EN – Bradford, England / Nightrain 13.02.26 EN – Nottingham, England / Rock City 14.02.26 SC – Glasgow, Scotland / TV Studios 15.02.26 EN – Newcastle, England / Boiler Shop 17.02.26 WL – Cardiff, Wales / Tramshed 18.02.26 EN – Torquay, England / The Foundry 19.02.26 EN – Southampton, England / The 1865 20.02.26 EN – London, England / Electric Ballroom 21.02.26 EN – Wolverhampton, England / KK’s Steel Mill UK festivals: 13.06.26 EN - Donington Park / Download Festival 05.09.26 EN - Coventry / Hella Rock Festival (Coventry Empire) Supporting Accept on their Half A Century Of Metal Tour: 27.08.26 EN – Wolverhampton / KK’s Steel Mill 28.08.26 EN – London / Indigo at the O2 TAILGUNNER are: Craig Carns - Vocals Rhea Thompson - Lead Guitar: Zach Salvini - Lead Guitar Bones - Bass Guitar Eddie Mariotti - Drums TAILGUNNER online: FACEBOOK INSTAGRAM

Thrash legends Exodus share video for new single '3111' Goliath album out 20th March via Napalm Records Footage too brutal for YouTube Censored and uncensored versions available Just last week, Bay Area thrash legends EXODUS announced their 12th studio album, Goliath. Their first album with singer Rob Dukes since 2010, the band’s Napalm Records debut, and the follow-up to their highest-charting record ever will be released 20th March. Along with it, the band revealed the massive opening track '3111' - whose video couldn’t be released due to the footage being too brutal for YouTube. Today, the video is revealed, in censored and uncensored form. Censored version: https://youtu.be/kmZXGb6MtF8 Uncensored version: http://exodus3111.com Gary Holt about the video: "So here it is, time to share the full, uncensored version of the video for 3111! If you put it in movie terminology, we have the PG, PG13, and with this one, the rate R version! With YouTube flagging what we consider the PG13 version repeatedly with threats of losing our page permanently, (which to be honest contains nothing you can’t find on YT already) we decided to really push it and include all the scenes we KNEW they would not allow! So here’s the full video, with its own website to view! Enjoy!" Set around the drug war in Mexico’s Ciudad Juárez, sinister '3111' is an intense song showcasing not only EXODUS’ ever-increasing dynamic approach, even decades into their historic reign, but also their willingness to go exactly where it hurts. Therefore, the band spared no effort to make the video accessible to fans. A censored version is now up on YouTube, while a new website has been set up to show the merciless brutality of '3111' in its true form: http://exodus3111.com EXODUS on '3111': "We decided to go hard with the leadoff single, ‘3111’. The song is about the narco killings in Juarez, and ‘3111’ is the estimated number of murders for 2010 alone." Pre-order Goliath here: http://lnk.to/Exodus-Goliath/napalmrecords Emerging hungrier than ever in 2026, with Goliath, EXODUS reinforces their eternal foothold at the top of thrash metal's hierarchy with 10 of their most diverse, anthemic emissions to date. Further fuelled by the widely embraced return of iconic late-era frontman Rob Dukes – first appearing on 2005’s Shovel Headed Kill Machine – the album boasts what the band describes as the performance of his life. Goliath is EXODUS’ most collaborative record in their four decade-plus history, featuring songs written by several band members and guest contributions from Peter Tägtgren (Hypocrisy, Pain) and violinist Katie Jacoby. EXODUS - 3111 Flurried dueling solos, an isolated bass excursion, rigorous drum dexterity and a blend of both gritty vocal passages and cutting chants combine to serve as yet another prime example of the band’s ever-evolving musical mastery. Produced by EXODUS, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their debut, 1985’s groundbreaking thrash blueprint Bonded By Blood. 40 years later, EXODUS are steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition. EXODUS comment on new album Goliath: “Are we excited for this record? That’s an understatement. We put everything we had into this record (and it’s 80 percent complete follow up, but we’ll save that conversation for another day!) and it’s one of our proudest accomplishments. Wildly collaborative, the most band centric album to date with four songs written by Lee, lyrics by Gary, Rob, Lee and Tom, and just killer all the way around. The time to let the monster loose is coming! Bow Down!” Goliath wastes no time proving as massive as its name, with a sinister introduction opening '3111'. Ode to owning one’s own volatility 'Hostis Humani Generis' features a palpable lyrical delivery from Rob Dukes that cuts like crystal amid frenetic riffs, before rolling into 'The Changing Me'. The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings – blending menace and melody with the cleans of guest Peter Tägtgren (Hypocrisy, Pain) together with Tom Hunting and at the end both Peter and Robb scream off the song. Harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. 'Promise You This' incites mosh pit treachery with explosive energy, cyclonic riffs and turbocharged soloing from Holt and Altus, prior to colossal title track 'Goliath' simmering the tempo down with winding, malevolent leads, towering drums and ominous string work from Katie Jacoby coupling with intricate guitars. The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like 'Beyond The Event Horizon' and '2 Minutes Hate' provide EXODUS’ trademark deadly dose of thrash theatricality – the latter boasting one of the album’s most grimacing, grooving pit primers – while undeniably 90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like 'Violence Works'. The nearly eight-minute epic 'Summon Of The God Unknown' turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power packed closer 'The Dirtiest Of The Dozen' wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments. EXODUS are touring the world extensively in 2026. First off with Megadeth and Anthrax in Canada in February and March, then Europe with Kreator, Carcass and Nails in March and April. The band then tour the US and Canada with Sepultura in April and May. UK dates: 27.03.26 UK - London / O2 Academy Brixton 28.03.26 UK - Manchester / O2 Apollo Manchester 29.03.26 UK - Glasgow / O2 Academy Glasgow EXODUS are: Tom Hunting - drums Gary Holt - guitars Jack Gibson - bass, backing vocals Lee Altus - guitars Rob Dukes - lead vocals Photo credit: Jim Louvau

Massive Wagons Release Live Single & Video ‘Pressure’ Ahead of Landmark Album ‘Live At The Great Hall’ Watch Video HERE Massive Wagons have released a brand-new single and video for Pressure, taken from their forthcoming album Live At The Great Hall, due out on 27th March 2026 via Earache Records. A fan favourite and a staple of the band’s live shows, Pressure perfectly captures the raw power and adrenaline that Massive Wagons thrive on when they hit the stage. Frontman Barry Mills explains: Pressure is one of my absolute favourite tracks to play live. I love the live energy it brings and Adam’s solo in it is probably my favourite of all his solos to be honest. It jumped out at me when I had my first listen through the album in its entirety too, which was a big plus in my book for it to be filmed and released as a live single. We are super excited about the release of the live album. I think it really captures who we are and what we are about, and it kinda proves we are a serious outfit who bring it when we perform live! It’s been years in the making, it needed to be done right, at the right time and at the right place with the right songs, and it’s become another big chapter in the Wagons story”. The band have also dedicated Pressure and its accompanying video to the memory of Stu Hunting, a close friend of the band and a hugely respected supporter of the UK rock and metal scene. “Stu was a champion of live music and a friend to so many bands,” Barry adds. “He may be gone, but he’ll never be forgotten.” Live At The Great Hall documents two very special hometown shows recorded on 19th and 20th September 2025 at Lancaster University’s Great Hall, a venue steeped in rock history. After lying dormant for over 40 years, the hall once again came to life, echoing memories of legendary performances by The Who, Black Sabbath and Queen. Both nights sold out, and the atmosphere was nothing short of electric. The performances were praised by original Great Hall promoter Barry Lucas, author of When Rock Went to College, while Classic Rock Magazine hailed Massive Wagons as “a band stepping up their league.” Recognising the significance of the moment, the band knew it had to be captured. The album bottles the humour, heart, and spirit that Massive Wagons bring to every show, offering fans the chance to relive those unforgettable nights, or experience them for the first time. Live At The Great Hall will be available in a selection of exclusive formats. Pre-orders are open now at https://earache.com/collections/massive-wagons Pre-Save Here - https://earache.lnk.to/LiveAtTheGreatHall Pressure is OUT NOW https://earache.lnk.to/PressureLive 2026: LIVE DATES 07.02.2026 Warrington,UK, (Parr Hall) Full Nelson Show 27.03.2026 – Album Launch -Barnoldswick Music & Arts Centre (SOLD OUT) 28.03.2026 - Album Launch -Barnoldswick Music & Arts Centre (SOLD OUT) EVERYWHERE WE GO UK TOUR - 2026 17.04.2026 – Norwich, Epic Studios 18.04.2026 – Leicester, O2 Academy 19.04.2026 – Holmforth, The Picturedrome 23.04.2026 – Aberdeen, The Tunnels 24.04.2026 – Middlesbrough, Empire 25.04.2026 – Hull, The Welly 30.04.2026 – Margate, Dreamland 01.05.2026 – Exeter, Phoenix 02.05.2026 – Gloucester, Guildhall Tickets: https://www.massivewagons.com/live

VAN HALEN 5150 (Expanded Edition) LP/3CD/Blu-ray Set Includes Remastered Album, Rarities, And Previously Unreleased 1986 Live Recordings, Arriving March 27 Blu-ray Features New High-Definition Version Of 1986’s Double-Platinum Concert Video Live Without A Net PRE-ORDER NOW Previously Unreleased Live Version Of “Summer Nights” From New Haven, Connecticut On August 27, 1986 Out Today Digitally Van Halen began a new chapter 40 years ago with the release of 5150, the first album featuring the lineup of Sammy Hagar, Eddie Van Halen, Alex Van Halen, and Michael Anthony. 5150 marked the band’s first #1 album with hits like “Why Can’t This Be Love,” “Dreams,” and “Best Of Both Worlds” and continued their streak of multi-Platinum releases. Rhino will release 5150 (Expanded Edition) on March 27, just days after the album’s 40th anniversary. The LP/3CD/Blu-ray collection includes the 1986 album remastered directly from the original master tapes, overseen by the band’s longtime engineer Donn Landee. Additionally, an Amazon-exclusive green vinyl version will be available the same day. The set also introduces more than 90 minutes of previously unreleased live recordings from the band’s August 27, 1986, concert at New Haven Veterans Memorial Coliseum in New Haven, Connecticut. These are joined by a selection of rare 7” single edits and extended 12” versions. The Blu-ray includes a new high-definition upgrade of Live Without a Net, Van Halen’s double-Platinum 1986 concert video that was also recorded that same August night in New Haven, along with promotional videos for “Dreams” and “Why Can’t This Be Love.” Pre-order HERE. Standalone versions of 5150 featuring the remastered album and rarities will also be available the same day as a 2CD set or a 2LP on black vinyl. Ahead of the release, the live version of “Summer Nights” from the New Haven show is available today digitally, along with the HD remastered video. Listen HERE. Van Halen recorded 5150 at Eddie’s 5150 Studios in California beginning in late 1985. Released on March 24, 1986, the album debuted at the top of the Billboard 200, becoming the band’s first #1 release. It quickly became one of the best-selling albums of Van Halen’s career, earning 6x Platinum certification in the U.S., and was followed by the extensive and highly successful 5150 Tour. On stage, the new lineup focused on new material like “Love Walks In,” “Best Of Both Worlds,” and “Get Up,” while still delivering early VH favorites like “Panama” and “Ain’t Talkin’ ’Bout Love.” 5150 (EXPANDED EDITION) LP/3CD/Blu-ray Track Listing LP: Original Album Remastered Side One “Good Enough” “Why Can’t This Be Love” “Get Up” “Dreams” “Summer Nights” Side Two “Best Of Both Worlds” “Love Walks In” “5150” “Inside” Disc One: Original Album Remastered “Good Enough” “Why Can’t This Be Love" “Get Up” “Dreams” “Summer Nights” “Best Of Both Worlds” “Love Walks In” “5150” “Inside” Disc Two “Best Of Both Worlds” (Single Edit) “Dreams” (Single Edit) “Love Walks In” (Single Edit) “Why Can’t This Be Love” (Extended Version) “Dreams” (Extended Version) “Best Of Both Worlds” (Live) “Rock And Roll” (Live) “Love Walks In” (Live) Disc Three New Haven Veteran Memorial Coliseum, New Haven, CT (8/27/86) “There’s Only One Way To Rock” “Summer Nights” “5150” “Panama” “Best Of Both Worlds” “Love Walks In” Guitar Solo “I Can’t Drive 55” “Ain’t Talkin’ ’Bout Love” “Wild Thing” “Why Can’t This Be Love” “Rock And Roll” Blu-ray Live Without a Net (HD Upgrade) “Dreams” (Promo Video) “Why Can’t This Be Love” (Promo Video) 5150 2LP Track Listing LP One Side One “Good Enough” “Why Can’t This Be Love" “Get Up” “Dreams” “Summer Nights” Side Two “Best Of Both Worlds” “Love Walks In” “5150” “Inside” LP Two Side One “Best Of Both Worlds” (Edit) “Dreams” (Edit) “Love Walks In” (Edit) “Why Can’t This Be Love” (Extended Version) “Dreams” (Extended Version) Side Two “Best Of Both Worlds” (Live) “Rock And Roll” (Live) “Love Walks In” (Live) 5150 2CD Track Listing Disc One “Good Enough” “Why Can’t This Be Love" “Get Up” “Dreams” “Summer Nights” “Best Of Both Worlds” “Love Walks In” “5150” “Inside” Disc Two “Best Of Both Worlds” (Edit) “Dreams” (Edit) “Love Walks In” (Edit) “Why Can’t This Be Love” (Extended Version) “Dreams” (Extended Version) “Best Of Both Worlds” (Live) “Rock And Roll” (Live) “Love Walks In” (Live)

There’s a particular pleasure in watching an artist lean fully into the thing they do best. For Bad Bob Bates, the musical alter‑ego of Chris Davison, that “thing” is storytelling with a wink, a bruise, and a blues‑soaked grin. Car Trouble, his latest seven‑track collection recorded at The Old Church Studio in Thropton and produced by Adam Forster, is a compact, characterful showcase of everything that makes Bad Bob Bates such a compelling presence on record and on stage. It’s warm, witty, rough‑edged in all the right places, and delivered with the kind of charisma that can’t be faked. Bad Bob Bates has long been known for his sharp eye for human behaviour, the tiny absurdities, the private heartbreaks, the moments of comedy that slip into tragedy and back again. On Car Trouble, he doubles down on that instinct, offering songs that feel lived‑in, unvarnished, and deeply relatable. These aren’t grand epics; they’re snapshots, overheard confessions, and late‑night mutterings set to blues riffs and battered‑but‑hopeful melodies. The album opens with the title track, a fuzz‑drenched, upbeat blues number that uses car woes as a metaphor for life’s more stubborn misfortunes. Distorted vocals and a driving drum performance from producer Adam Forster give the song a gritty swagger. Bad Bob Bates sounds like a man laughing through the chaos, and the effect is infectious. Opening with a harmonica‑led blues shuffle featuring Mick Davison’s expressive blowing “Don’t Tell the Bride” also features Bad Bob Bates The Bates Motel compadre Ally Lee’s providing additional guitar work. This track leans into Bad Bob Bates’ humour. It’s loose, lively, and knowingly mischievous, the kind of song that feels like it was written with a grin and recorded with a raised eyebrow. Slowing the pace, “Foundry Lane” brings acoustic guitars to the forefront. It’s a gentler, more reflective moment, the kind of track that invites the listener to lean in. Bad Bob Bates’ voice carries a quiet ache here, proving he can land emotional weight without ever tipping into sentimentality. “No‑one Told Me” is a down‑on‑your‑luck blues tune with alt‑rock DNA, this track nods toward Pavement and Phish while remaining unmistakably Bad Bob Bates. It’s a song about escape, or at least the fantasy of it, with one of the album’s most memorable lines: “Gonna hook up my girlfriend’s fold‑up caravan, then I can make me a brand new plan.” It’s scrappy, hopeful, and delivered with a shrug that says, “Well, why not?” The guitars get heavier and the drums hit harder on “Silent Screen.” This is an ode to falling in love with a silent movie star, a concept that sounds whimsical but lands with surprising sincerity. Bad Bob Bates taps into nostalgia without ever sounding stuck in the past, giving the track a cinematic sweep. Built on a sweet shuffle beat “Take What You Got” is one of the album’s most uplifting moments. Bad Bob Bates sings about squeezing every drop out of life, offering the simple but resonant reminder: “You gotta take what you got and squeeze it ‘til it’s dry.” It’s earnest without being cloying, and the groove is irresistible. Closing the album with a bang, “You Looked Good” is an old‑school boogie rocker that channels classic Quo energy. Everything is cranked up, everything is fun, and Bad Bob Bates leans into the party spirit with lines referencing Grand Funk and wry observations like: “You look good, but I was stoned,” and “You’re still sober and I’m still drunk.” It’s cheeky, loud, and designed to be played at full volume. This is a cohesive, confident release. Across these seven tracks, Bad Bob Bates plays everything except the drums, and that DIY spirit gives Car Trouble its charm. The performances are tight but never sterile; the production is polished but still lets the grit shine through. There’s not a weak moment here, each song earns its place, each one offering a different shade of Bad Bob Bates’ musical personality. What really elevates the album is Bad Bob Bates himself. His voice, his humour, his knack for turning everyday frustrations into miniature blues operas, it all adds up to a record that feels both intimate and entertaining. Whether he’s channelling classic boogie rock, acoustic melancholy, or fuzz‑heavy blues, he does it with a confidence that comes from years of honing his craft on stage and in the studio. Fans of his live work, whether solo or with The Bates Motel, will recognise the energy and storytelling flair. New listeners will find an artist who knows exactly who he is and what he wants to say. Car Trouble is a top‑tier effort from Bad Bob Bad Bob Bates: funny, heartfelt, musically sharp, and packed with personality. It’s the kind of album that rewards repeat listens, each spin revealing another sly line or subtle musical detail. With its limited CD release and download available via Bandcamp, it feels like a gem waiting to be discovered, a small but mighty record from an artist who continues to grow without losing the rough‑edged charm that makes him so distinctive.

If you follow Preacher Stone on their socials, you might have seen a video recently where frontman Ronnie Riddle bestowed upon us his ‘Fun Facts of Faversham’; apparently it’s “famous for gunpowder and oysters, and known for its medieval architecture and rich maritime and industrial history”. Be that as it may, the only reason I tend to visit is for an evening at The Old Brewery Store, a venue that, in collaboration with Rockin’ Roots Events, consistently books exciting acts and is fast becoming one of my favourites. It’s busy tonight, despite being mid-week, the allure of two bands who made their mark at the (relatively local) Maid of Stone Festival proving strong. UK based Revenant are up first, frontman Sam Lay firmly suggesting that anyone at the bar needs to move forward. He’s got a point, because Revenant sound even better than I remember. The influence of Southern rock seeps through the gorgeous twin guitar interludes and harmony vocals that make ‘Best Medicine’ so infectious, but there’s more to Revenant than that. The new songs suggest that the band are moving in heavier directions, ‘Waste My Time’ and ‘Something You’re Not’ favouring big riffs and rumbling bass lines which prove a hit with the crowd, even if we initially struggle to shout ‘hey!’ in the right places! ‘Black Dogs and Sad Men’ is a mini-epic, complete with an unforgettable percussive interlude that allows drummer Carl Donoghue to give his kit what for and guitarist Matt Hudson to really shred. Throwing in a turbo-charged cover of Zeppelin’s ‘When the Levee Breaks’ is a masterstroke; close enough to the original to keep us happy, but different enough to feel revived. The only trouble is, we’re not quite sure when it’s finished and wait for an ending that’s already happened, much to the amusement of the band who conclude we probably didn’t like it! ‘The Healer’ reveals a more vulnerable side, a gentle ballad about checking in on your mates that sees phone torches light up the venue. The similarly personal, ‘I’ll Be There’ brings the set to a triumphant close, with a huge, unifying chorus that demands to be sung along with. Americans are generally more natural showmen than us Brits, and so it proves for Preacher Stone. And though it’s unusual for a drummer to command the most attention, the effortlessly cool Wyatt subverts expectations, crashing in at the start of the set and marking ‘Hard Life PhD’ with his distinctive, cymbal-heavy technique. But there’s charisma all over the stage, frontman Ronnie Riddle winning us over quickly with his Southern warmth and North Carolina accent that doesn’t disappear when he sings. The band flew in yesterday, but there’s no signs of jet lag as they tear into the wonderfully titled ‘Old Fashioned Ass Whoopin’ Sum Bitch’. Though it’s easy to stamp Preacher Stone with the Southern Rock label (and of course, there is an element of that), to my ears, they’re better described as good ol’ heavy rock, played loud and with a focus on catchy choruses that quickly embed themselves in your brain. ‘Not Today’ makes an early appearance, a song that opened doors for the band when it featured in Sons of Anarchy, and is still probably their best known. It translates particularly well live, all of us shouting the title back at the band at the appropriate moment. ‘Dance With the Devil’ highlights bassist Jim Bolt’s harmony vocals, and the wonderful grooving rhythm that makes Preacher Stone such an easy band to move to. There’s a bit of a problem with feedback around the halfway mark, causing Riddle to jest that they have “flasks, CDs, vinyl and feedback” for sale at the end of the show! But thankfully it’s not enough to derail the band, who soldier on with the deliciously funky ‘Saddled and Rode’. It’s one of several songs from latest album ‘By the Horns’ to make the set, and all of them feel worthy. The joyful ‘Think By Now’ is a perfect party anthem, ‘Come What May’ almost brutally heavy with its aggressive riff. ‘Horse to Water’ sees the band at its most bluesy, Darrell Whitt’s swampy slide guitar lending a feeling of foreboding. Along with guitarist Ben Robinson, the pair make a formidable duo, the latter marking songs like ‘Writing on the Wall’ with fiery, expressive solos. ‘That’s Just the Whiskey Talking’ brings the night to a close, or at least, it’s supposed to, but the demand for the band to come back and play one more song is so strong that they can’t really refuse. ‘Lucky’ might not be a word you’d choose to describe Preacher Stone given the tragedies they’ve had to endure in their life as a band, but it’s the name of the song they choose to sign off with. Around me, people are dancing, singing and clapping. Preacher Stone say it’s “damn good to be here”, but I say it’s damn good to have them here. Join the congregation as the band continue their UK tour. REVENANT Sam Lay - guitar/vocals Matt Hudson - guitar/vocals Robin Nutley - bass Carl Donoghue - drums PREACHER STONE Ronnie Riddle - vocals Jim Bolt - bass Wyatt - drums Ben Robinson - guitar Darrell Whitt - guitar

This was Joanne’s first gig of the year and it was a pleasure to welcome her to Edinburgh at the start of a short run of dates on a ‘provincial’ tour. The Queen’s Hall was decked out in fairly simple fashion, with the floor seated, a minimal stage set-up and plain curtains at the back, which definitely did not match the on-stage carpet on which Joanne played. There was plenty of space for the four-piece band backing the main lady herself, who was dressed in a fabulous flared trouser suit for the occasion. Ironically, had she been “home” in Nashville, she might have needed a woolly jumper, as I believe it has been snowing there this week – a highly unusual event. Since Joanne last played here three years ago, she has released two full-length albums, so there was plenty of recent goodness to share, including ‘Hell of a Good Time’ early in the set. As ever, Joanne’s smoky vocals were as much of a feature as her incredible guitar skills, and wouldn’t it be great to hear JST having a smoke-off with Elles Bailey on a duet? Behind Joanne, the marvellous Katelynn Corll added exquisite backing vocals to her excellent drumming and really contributed something special to the occasion. As usual, Joanne let the music do most of the talking, and the arrangements and guitar playing were very eloquent indeed. When she did chat between songs, the likeable Midlander shared some amusing stories about her dog Hank, Harry Potter and her secret crush, Kevin Costner. Memorably, her excellent cover of ‘Two Time My Loving’ by The Fabulous Thunderbirds came with a disclaimer that Joanne does not endorse cheating! The set list was primarily drawn from Joanne’s own work, which includes a smattering of some other people’s songs that she has already put her stamp on. Gershwin’s ‘Summertime’ dates back to Porgy and Bess in 1935 and according to The Jazz Society, there have been over one thousand recorded versions of this tune, although other online estimates are considerably higher. I am sure folks from the 1930s would appreciate Joanne’s vocal interpretation but I think her guitar playing would blow their freaking minds. As a boomer, I used to associate ‘Wild is the Wind’ with David Bowie, but his was just one of many covers of that song, dating back to Johnny Mathis. I suspect Ella Fitzgerald’s take will have been Joanne’s favourite version, but for me, the intricate song really brings the best out of Joanne’s voice and her quite exquisite rendition on her ‘Reckless Heart’ album is the new gold standard. Having listened in quiet appreciation, many in the crowd fell for the false ending and erupted into applause, before Katelynn’s authoritative short drum burst heralded the blistering guitar denouement that put the cherry on the cake. As always, Joanne’s performance was outstanding. By doing it the old-fashioned way through recording and touring, Joanne has developed a loyal and discerning following who appreciate her work. In the corridor, I heard one individual deliver a slightly crass, cack-handed compliment, describing the main lady as “like Bonamassa with breasts”. I’m sure he meant well and was primarily referring to the quality of her playing, but as a friend and collaborator of Joe’s and a lady who does not overtly use her femininity and beauty to promote her talent, I doubt if Joanne would really welcome the comparison. At the start of the evening, Essex lad Connor Selby was the opening act – the third time he has done the honours for Joanne, although once again, it was as a solo act, accompanied only by a small amp and his own happy, tappy feet. He comes with an increasing reputation, as he was voted "Young Artist of the Year" at the UK Blues Awards in three consecutive years between 2020 and 2022, before graduating to win a “big boy now” trophy with the 2025 "Traditional Blues Artist of the Year" award. The subject of his song titles tended to fit the “modern blues” template. The opener ‘Falling in Love with You’ sounded potentially romantic, although Connor didn’t seem all that thrilled about it. He then introduced ‘All Out of Luck’ as being “about my current situation”, which drew some sympathetic “aawws” from the mothers in the audience. There was a “countrified heartbreak” song, plus the excellent ‘The Truth Comes Out Eventually’, which is the title of his latest album, before it all wrapped up with the comparatively upbeat and undeniably excellent ‘Someone’. Clearly an outstanding performer, and already a favourite with some Rockfiend colleagues, I will hope to see Connor in a band context at some point. Postscript; Although in fine form in this gig, apparently Joanne was subsequently laid low with a chest cold which impacted some dates and caused the cancellation of others. Best wishes for a speedy recovery.

Solomon Hicks’ ‘How Did I Ever Get This Blue?’ is really a work of fascinating contradictions. Despite the clue in the title an album cover that could be mistaken for that of an old master, 30 year old Hicks seems to be forging forward whilst looking back, at times reverential to traditional blues, at others ripping up the rule book entirely. A guitarist who has been gracing stages since the age of 13, his years of experience feed into an album that balances the familiarity of classics like Bobby Bland’s ‘Further on up the Road’ and Chuck Berry’s ‘Memphis, Tennessee’ with unlikely reworkings of modern pop classics by Bruno Mars and Adele; choices that feel intentionally controversial, and might upset the purists, but are all the more interesting as a result. Adele’s ‘Rumour Has It’ is transformed into something almost feral, Joanna Connor’s slide guitar lending a gloriously unhinged feel to a song that always deserved this much attitude. The insistent drum beat adds to the frenzied atmosphere that works so well. Hicks is a master of moods, whether conjuring gentle melancholy with his plaintive guitar work on ‘All Your Loving (I Miss Loving)’, or injecting soul into a majestic ‘Feels Like Rain’ with his impassioned vocal. It’s something he does very well in his original work too, ‘I’m Burnin’ Up’ is an assured slice of streetwise funk set to a hip hop beat, a striking contrast to the title track. The latter is appropriately sad, aching with yearning, an elegant blues ballad that feels like it must have been around for many years. Elsewhere, ‘Dimples’ is given a swinging update that is utterly joyful, the bass doubling beautifully with guitar for the distinctive lick. Paul Butterfield’s ‘Driftin’ and Driftin’ is somewhat darker, almost sinister, as the menacing riff keeps slinking back for more. Hicks has stated that he wants “to shock people” and I’d say it’s job done, in the best possible way. ‘How Did I Ever Get This Blue?’ is out now.

The unassuming village of Wingham isn’t necessarily somewhere you’d consider as a hotspot for live music. Perhaps that’s why the turnout at the Anchor is so disappointing this evening, the void space in front of the stage surely not a sight any band yearns for. But Leadfeather don’t let it bother them, joking that sometimes they play to 300 people, sometimes 500, but that “this feels right”. If you’re unfamiliar with the London based quartet, one look at their open shirts, flared jeans and (mostly!) long hair gives some indication of what to expect. Musically, they’re as Zeppelin as it gets, and I mean that as the greatest compliment. But vocally, Apostolos L has more in common with David Coverdale at his full throated best, even throwing in the odd swooning “oh baby” for good measure. His voice erupts with startling power on opener ‘Danger Zone’ and doesn’t let up thereafter. Blessed with a look as strong as his voice, he’s a proper, old-school, tambourine shaking frontman, complemented beautifully by guitarist and founder Simon Hurts. With just one EP to their name at the moment, we’re treated to stellar renditions of all 6 tracks during Leadfeather’s set. ‘Roll the Dice’ is worthy of special mention, one of the finest rock songs of 2025, nodding to the aforementioned Zeppelin but also to Deep Purple with a lovely bit of call and response between L and Hurts, the former’s vocalisations being met with squeals of guitar from the latter. ‘Shoot for the Stars’ sounds equally colossal, grooving like a beast thanks to some particularly funky lines from bassist Wilson Zaidan. A decent helping of new material slots in nicely; ‘Wild Child’ is particularly memorable, not just because Hurts switches out his Les Paul for a 12-string (also adorned with trademark feather!) but because Thanos’ drumming is very reminiscent of a certain Mr. Bonham, never going quite where you expect. Unapologetically retro, there are several references to the greats, riffs from Hendrix and Sabbath sneaking their way into proceedings. In terms of influences, these lads have chosen all the best ones - what’s not to love? Headliners Greyfox Conspiracy certainly have a striking look; Decked all in black, there seems to be a loose uniform of boots and chains, a military jacket here, a waistcoat there. Centre stage, charismatic leader Greyfox Growl (aka Rob Cooksley) makes an immediate impression, eyeballing members of the audience and pointing his finger as the band tear into the fast-paced ‘Freight Train’. And they’re loud, really loud, the heavy thump of Darren Richards’ Rickenbacker bass giving some serious oomph to proceedings. Cooksley jests that the collective age of the band is about 360… I’m assuming that’s an exaggeration, but by how much, I can only guess! Despite their advancing years, they’re a fairly new band, debut album ‘Preacherman’ released just last month. We get to hear most (all?) of it tonight, and the emphasis is on no-nonsense hard rock with easy to remember choruses that can be picked up quickly. ‘Twist of Fate’ is pleasingly reminiscent of AC/DC with its stomping riff, ‘Crazy Horse’ gloriously unhinged with Cooksley’s wild vocal. Their set is a lot of fun, Cooksley disappearing at the start of ‘Preacherman’, returning with a bible in hand, and venturing into the audience to dish out blessings, placing his hand upon various heads (not mine, he takes a look and shakes his head, I’m clearly a lost cause!). The song itself is wonderfully dynamic, Cooksley’s snarl of a vocal alternating with a thundering guitar assault in the opening verse. A riotous ‘Fire and Gasoline’ seems familiar, but that’s because it’s a song written by Cooksley when he was part of Sons of Liberty. He says that Greyfox do it better, and it’s hard to argue. It’s a great song with an irresistible hook, delivered here with energy and style. At just £11 a ticket, it’s baffling to me that this event isn’t sold out. I’d happily pay quite a lot more to see either band again. Get both bands on your playlist and turn up the volume, there’s great new music out there if you know where to look. Leadfeather Setlist Danger Zone/Queen of the Night/Silvertrain/Silver & Feathers/Higher/Roll the Dice/Why/The Answer/Wild Child/Shoot for the Stars/Troubled Man Greyfox Conspiracy Setlist Freight Train/I’ve Got Your Back/Renegade/Lord Have Mercy/Branded Man/Twist of Fate/Fire and Gasoline/Time Will Tell/Preacherman/Crazy Horse/Into the Great Unknown