Lloyd Cole is a fairly regular visitor to these shores from his home in Chicago. It is always nice to see him present his extensive songbook in different ways; sometimes he has a band, sometimes it's an acoustic offering either alone or with a friend or family member in support. Tonight, it was to be a solo performance with an electric guitar as accompaniment. Now, I think that is a bit of a bold move. An electric guitar, all on its own, is much less forgiving than any other set up. It points to Lloyd’s confidence in his own skin and skill and something I am looking forward to hearing. I got to the venue early enough to grab a beer. It was nice too to bump into an old pal, David Watt. Tonight was about memories as well as music, and we got talking about the Commotions, Love and Money, Kevin McDermott (who we might have spotted in the crowd) and Danny Wilson. During the late 1980 and early 90’s Scotland really was awash with so much quality pop music; those were great times, and, as a resident of Glasgow’s Great Western Road, Lloyd was very much a part of it. It looked to me that most of tonight’s audience were survivors of those days. There were groups of women who came together, their love for Lloyd had clearly lasted longer than the relationships they were in when they first heard him. Similarly, the guys with hair were doing their best to slick it back or spike it up, in homage to their look of four decades earlier. Even the bar staff with dressed sympathetically in all black gear. One of us need have worried, just on 8 o’clock the lights dimmed and we all transformed, we were back to the 80’s and in our minds our turtlenecks were tucked into our jeans and we were swaying in our happy melancholy. Lloyd took to the stage in all white, his uniform of choice these days and grabbed his guitar. First up ‘29’ from Mainstream, the last Commotions album; it gave a sense of what the night was going to look like. With no other instruments, this was going to be a night where the voice and lyrics took centre stage, with the guitar playing, very much a supporting, but no less, important role. The opener was quickly followed by ‘No More Love Songs’ from the 2003 Negatives album. My favourite Lloyd Cole song has always been ‘Rattlesnakes’. It appeared next with, I think, a bar or two from AC/DC’s ‘Rock and Roll Ain’t Noise Pollution’ to open it up. I’d love to know if I heard right. I left Twitter a while ago, for reasons you’d guess, but that was a great way to connect with musicians and Lloyd was no exception, he’d answer the odd question or make a wee comment in response to a reference here or there. It is one of the few things I miss about that platform. I’d certainly have asked if an AC/DC riff had made it onto his stage. The rest of the first half was a mixture of the old and not quite so old. Lloyd knew what his audience wanted and gave that to them. The first half of the opening set could easily be the last few songs of a headline set. ‘Speedboat’, ‘Brand New Friend’ and ‘Perfect Skin’ all got a run out and sat really well alongside slightly less old solo cuts, including ‘Guesswork’, ‘Baby’ and ‘Undressed’. The first set finished with the brilliant ‘2CV’. I guess 40 years ago we’d all be running to the bar, tonight it was a sprint to the bathrooms. After 20 minutes or so, we all reassembled in this lovely, seated venue for some more. ‘Are You Ready to be Heartbroken’ started the second half. It was a joy to listen to another hour of songs that were about love; requited love, unrequited love, broken love, painful love and, I am sure there must have been some joy in there too. These were the songs of my youth, of sitting in my bedroom with friends drinking tea and listening to those records. ‘Charlotte Street’, ‘Jennifer’ and ‘Hey Rusty’ prime amongst those memories. Some wag asked for ‘My Bag’. “It's on sabbatical” Lloyd replied. That kind of demonstrates the depth of the Lloyd Cole songbook that strong and popular songs, like ‘My Bag’, can be dropped from the proceedings and it still a cracking setlist. ‘The Afterlife’ and ‘No Blue Skies’ were real highlights for me too. ‘I’m Gone’ closed the set and Lloyd wandered off. This was quite a laid-back gig, “join in if you want” said Lloyd, “just not too exuberantly”. That set the tone, for the night, the stage banter was minimal but good fun and the audience just enjoyed sitting back and lapping up the music, but when Lloyd changed a word or a line, the giggles in the room showed this educated audience knew; they were certainly paying attention.  Encores of ‘Lost Weekend’ and the mighty ‘Forest Fire’ took us to the close of what had been a fantastic night. As the lights came on, we were all transported back to 2026, we had, once again, left 1986 behind. But time travel does wonderful things, we all left the Queen’s Hall showing a bit of extra swagger and wearing smiles that can only come from the comforting love of memories of music, youth and optimism. Are we ready to be heartbroken? Probably not, but Lloyd is certainly welcome back to try again as soon as he likes.

OUT NOW VIA FRONTIERS MUSIC SRL

From Sunset Strip to Sauchiehall Street

Andy Guttercat is not somebody I'm familiar with, so when Insomnia dropped into my inbox, I had no idea quite what to expect. Nothing ventured, I hit play, sat back, and BOOM - the opening riff just hits you square in the mouth. This is a tune with a crashing, punky guitar push sitting right underneath some dark lyrics all about, well, not getting any sleep. As the song progresses, it's driven by a drum beat that just does not give in, underlining the gap between the optimism of the guitar work and the pain of the lyric. About two minutes in, the tempo switches, and there are a few bars of Metallica-heavy delivery before the riff returns. I liked it, a nice touch. Andy's voice suits the song well, and by the end of the first verse he'd really bedded in and relaxed into the groove.  The song ends with what sounds exactly like my alarm clock, which gave me a wee start, but it closed out this three-minute journey of punk guitar really well. This was a good listen; it got my head nodding. I'd certainly love to hear it on Kerrang radio, or on some of the punkier slots on other rock stations. I'm off to listen to more Andy Guttercat, and I'll certainly be keeping an ear out for him. If you like a bit of punky riff to your rock, give it a listen.

Gigs are gigs, but sometimes a gig is an event. This last weekend, Marillion in the Amphitheatre in Pompeii was, most certainly, an event. Following a couple of nights in Naples and a train trip that turned out to be much harder than it should have been, Gregor and I arrived in Pompeii around 3 o’clock on Saturday afternoon. Once we were off the train, our attention was taken by a guy in a green shirt. It was a significant spot, because I didn't think there was another soul in this ancient city not wearing a Marillion t-shirt of some description or other. The bar at our hotel was packed with fans, and they were lovely. Marillion had, for a number of very good reasons, cultivated a community at least as much as a fan base. Mark Kelly, the band's keyboard player, was the first to come up with a crowdfunding idea to support the recording of an album and a tour (Anoraknophobia and the 1996 US tour, if you're interested). That act of new fundraising created a community; fans no longer just bought Marillion records, they were financially invested in the product and the outcome - their names were on the record sleeves. That, to a large extent, started to develop what is now, truly, a Marillion community. Where we were sitting, everyone wanted to chat and many folk knew one another; the lady sitting beside us produced plectrums she had branded for this show, to go with the others she had also created for every other show. This was more than a gig, this was a gathering of the clans. In total, 50 countries were represented in the Amphitheatre, which, in itself, was quite phenomenal and certainly showed the pull of this band, who continued to shine, forty years after starting their journey together. In the 27°C heat, we finished our drinks and started making our way to the Amphitheatre. Now, I had watched Pink Floyd's 'Live at Pompeii' and loved it, but neither that nor any subsequent recordings of gigs prepared me for the scene. The Amphitheatre was an oval space, as ancient as I had imagined. That night the floor was bedecked with the sort of plastic chair you might otherwise see in a church hall, whilst the stone seating around the sides was cushion covered. These wee, incongruous things were nice to see. Those same seats and cushions were to keep around 3,000 people comfortable for the night. In the run-up to the show, it was clear everyone was excited to be there. Pictures were being snapped of the views all around, the screenless staging, and the assembled crowd. Around 2120 the lights dipped and the band appeared, kicking off with the 1991 single 'Splintering Heart'. From the off, the sound was great and the texture of the music just threw a big cuddle of love around the Amphitheatre. Next up was 'Fantastic Place'. Steve Hogarth gave a wee story about how they hadn't planned to play it. They were in a fantastic place and, like the Christians who performed in that very same place 2000 years earlier, I wasn't sure they'd have got out alive had they not. The band were making a new album and gave us one cut from it, well, most of it anyway. 'Ribbon and Lace' was a nice sounding piece, even if Steve Hogarth forgot the words halfway through. 'Kayleigh' was a real surprise for me. Music does many things, but bringing back memories is probably the most important. I remembered my old mate Andy darting off to Sweet Inspiration records one lunchtime at school and returning with the 12-inch of this gem. Judging by the reactions all around, lots of others were having a wee moment of memory too. The band struck into the opening chords of 'Hotel Hobbies' that offered a nice, instrumental, reminder of an earlier time. 'Afraid of the Sunlight' and 'Seasons End' were great to hear. By now it was fully dark, and the light show reflected the occasion really well. Tube lighting on stage and spotlighting above, which, when it mixed with the dry ice swirling about, at times gave the feeling of an enclosed room rather than an outside venue. It was lovely. The first half of the show ended with 'Care', from the 2022 album 'An Hour Before It's Dark'. This was the post-Covid record, and this particular track brought on the goosebumps as we remembered those dark days, and who the heroes and visionaries had been and where they could be found. Darkness fell and the stage emptied, and a few minutes later the band returned, this time joined by The Flowing Chords, a choir from Rome. Now, there are often good reasons that a band of "a certain vintage" employ backing singers when previously there had been none. High notes could be harder to hit, and long notes just that little bit more challenging to sustain. That was certainly not the case with Marillion. Steve Hogarth remains in exceptional voice; I think he is one of the best rock singers you will see. Something that was notable as I reflected Steve was singing songs that were forty-plus years old; written by a younger voice, living a younger life. Years, experience and, no doubt a bit of self care, have added to his voice, it is certainly not diminished by time. No, the choir wasn't in place to support; they were in place to enhance, and they did that in spades. 'The Space' and 'The Crow and the Nightingale' were lifted by those extra voices and, I felt, 'Easter', the song that followed, was one of the highlights of the night. I always thought Marillion were a band who played with texture and layers, and these songs, with the addition of the Flowing Chords and the percussion of Andy Gangadeen, just added that little bit more depth to an already intricate sound. As complex as the music was, if I shut my eyes, I could still hear every element of the band contributing its part to make the sum of the whole the mighty sound it was. 'Lucky Man' was a welcome surprise for me, and I really enjoyed 'Go', from 1999's Marillion.com, as a show closer. After a suitably short break, the evening ended with the encore of 'Man of a Thousand Faces'. There could not have been a better choice as a closer. "Life's Been Good to Me" started pumping out of the PA as we made for the long walkway that had, in another time, been the route into the Amphitheatre for the hungry lions. On Saturday night I got to see 'my band' in a really special place. The weather was great, the atmosphere electric, and, for me, a highlight was being there with my son, Gregor. Life has been good, and nights like this were to be cherished.  This event was being recorded for a DVD, that will be Christmas sorted, and I can't wait.

Some award-winning blues was a rare treat for patrons in the Spiegeltent in George Square for this Edinburgh Jazz & Blues Festival event. At the 2026 UK Blues Awards, the Cinelli Brothers were named as ‘Blues Band of the Year’ and Alice Armstrong won both ‘Blues Vocalist of the Year’ and ‘Contemporary Blues Artist of the Year’. Considering that Joanne Shaw Taylor and Eric Clapton were also winners on the night, those are not small achievements. Both acts are clearly well-known and appreciated within the blues clubs and the blues scene and are well-overdue for a bigger audience. Tonight’s show was billed as ‘The Cinelli Brothers featuring Alice Armstrong’, so not a traditional opening and main act situation, but rather an ensemble collective with the artists playing together and cooking up a very nice two-hour set (with an interval) in the palatial tent. The Cinellis like to mix it up a bit and share the vocal duties and swap instruments. On the opening tune ‘Spell on Me’ it is southpaw guitarist Tom Julian-Jones who takes the lead and blasts a bit of what we Scottish folks call ’the moothie’ (harmonica) on a roadhouse-style romp. Tom was not a Cinelli brother by birth, but he sure is now, and fits in nicely alongside band-leader Marco Cinelli and his drummer brother Alessandro. Marco steps up on ‘Just Dropped In (To See What Condition my Condition Was In) – a psychedelic trip written by Mickey Newbury that was first made famous in the late sixties by The First Edition featuring Kenny Rogers, but the brothers have made it their own now. After that, it is time for Alice Armstrong to join the fun, with an authoritative version of B.B. King’s ‘How Blue Can You Get’. There is an easy rapport among the players, based on a few shared and collaborative experiences, and Alice then makes herself right at home with “one of mine” - a cracking version of ‘Upbeat Baby’ from her ‘Love, Sex & Death’ album that references being “born a shade of yellow” (just like Lisa Simpson)! Next up in the vocal spotlight is Jorma. The bass player is another honorary Cinelli brother but with the trousers of a Scissor Sister. He and his trousers both shine on The Beatles’ bluesy rooftop classic ‘Don’t Let Me Down’ which highlights the depth of talent that makes The Cinelli Brothers one of the most respected live acts on the blues scene today. A mash-up of Nancy Sinatra’s ‘These Boots Were Made for Walking’ and Gloria Jones’ ‘Tainted Love’ gave Alice a chance to show off her incredible vocal range, touch and feel. A quick read of the bio on her website suggests that her life so far has made her uniquely qualified to be a blues singer and she backs that up with a performance of charm, dexterity and real heart. After a short interval, the boys are back on stage with their own song ‘Dark Side of the Road’ which covers the trials and tribulations of being a touring band. Before this Thursday night gig, they had been in The Azores and Romania and endured 10 flights in five days. They would be spending their weekend playing in Switzerland and Germany and it doesn’t end there – they’ll be back in some UK cities in October, including Glasgow, Bristol, Manchester and London. After some well-received smoky continental jazz with reverb, the crowd are thinking “Alice, where the f**k is Alice?” She pops back up again for a humorous rendition of her debut single ‘Speed Dial’ which is delivered in a series of comedy accents, of which “posh English” is a clear favourite, and that was followed by the enduring standard ‘Chain of Fools’. As if there wasn’t enough talent on stage, the band invite local hero Jed Potts (of Jed Potts & The Hillman Hunters fame) up to sit in on ‘Voodoo Woman’ at the end of the show, and suddenly it’s all over after an enthralling and entertaining set that really flew by. The future is only going to get brighter for these artists, with the Cinelli Brothers seemingly playing in every corner of the planet and Alice getting a lot of attention for her ‘Blood in the Water’ live EP and heading to Canada next. It was a privilege to see this unique offering in such opulent and decadent surroundings and I hope they’ll all find their way back here someday soon.

Excited for another day of live music, but a little sad that the end is drawing near, there’s a creeping realisation that soon I’ll have to wait another year for glorious days like these. But for now, the sun is still shining above Mote Park (who’d have thought it?!), and there’s plenty of Maid of Stone Festival left to appreciate. Velvet Rush came alarmingly close to calling off their appearance this morning, the result of British Airway losing their gear. Thank goodness a solution has been found, because these Germans put on one of the most enjoyable shows of the weekend. An irresistible blast of no-nonsense AC/DC riffs and gang style choruses with Sandra Lian’s powerful voice front and centre, it’s just what’s needed to shake off any sleepiness. I suspect Lian’s daring catsuit probably does the trick for some too - a partially see-through number with some clever panelling to hide the naughty bits. But it’s songs like ‘Heart of Stone’ and ‘Euphonia’ that stay with me, straightforward stormers that get the crowd bouncing early. I’ve been told I have to go and see Queen Horizon open the Firestarter stage, and it’s always nice to see a local band getting a chance to shine. I imagine the Kent group are a bit of an acquired taste, throwing away convention with a cellist and a vocalist who sounds more ‘girly’ than the average hard rock screamer, but they’ve lured a decent crowd, and deliver their alternative rock with real passion. What strikes me first about Tuk Smith and the Restless Hearts is how alike the band look! It’s as if someone used Tuk as a template and created his band mates in his image, which, in fairness, is a pretty cool one. Coming across like a harder rocking Tom Petty with more of a snarl to his voice, Tuk Smith oozes rock and roll swagger from every pore. He confesses that he “should have been in therapy [his] whole life but chose to write songs instead” which is good news for us, because he’s really very good at it, conveying stories through his music. I’m very taken with the unapologetic Thin Lizzy rip-off ‘Girls on the East Side of Town’, an absolute sucker for that gorgeous twin guitar sound. I opt for Parker Barrow on the VIP Acoustic Stage over Square Wild, and I’m certainly not the only one. Fans are lining up along the fence to catch a glimpse of Megan Kane and Co. The band made a great impression with their electric set at last year’s festival, and it seems many of us are keen to hear more. Kane has a truly beautiful voice which is arguably even better like this, stripped back yet still full of power. Heavy Pettin might have been quiet for a while, but it would seem that they’ve picked up where they left off with last year's comeback album ‘Rock Generation’. The title track opens their set today, and you could be forgiven for mistaking it for an 80s classic; an old-school, fists in the air anthem. All the hits from their heyday are present and correct, and though there’s nothing particularly unique about songs like ‘Rock Ain’t Dead’ and ‘Love Times Love’, they’re a great nostalgia hit for some, and still good fun for anyone who wasn’t there first time around. I’m very impressed with Silveroller , who take the 70s template and bring it into 2026. Frontman Jonnie looks like a lost member of the Faces, but has an unusual voice for rock, warmer and more soulful than most. It’s a special day for the band, who sign their first record contract live on stage, enlisting us as witnesses (I’ve got a feeling the real contract might have been signed elsewhere, but it’s nice to feel involved!). ‘Black Crow’ has a wonderful, retro sound, swirling keyboards paired with a grooving riff. It seems Silveroller do epic balladry pretty well too, ‘Come On, Come In’ making a strong case for one of my favourite songs of the day, lovely vocal harmonies and Sammy Murdock's masterful guitar interludes really hitting the spot. For most of us, Hannah Wicklund is probably an unfamiliar name, which is baffling from the moment she picks up her guitar and delivers her own brand of heavy electric blues. Not only an incredible guitarist, Wicklund has a uniquely beautiful voice, a soulful holler at times reminiscent of Janis Joplin which proves an apt comparison given her spectacular cover of ‘Piece of my Heart’. The addition of a flautist threatens to take things into prog territory (no bad thing in my book!) but actually just brings more colour to a musical palette that is already one of the more interesting of the weekend. Often favouring a distinctive whooshing guitar sound that brings to mind a plane taking flight, Wicklund certainly seems like an artist in the ascent. Whatever it is, Anchor Lane have got it. Upping the heaviness significantly, the Glasgow trio give a remarkably self-assured performance. All attitude and crunching riffs, they seem to have updated their sound since last time I saw them. Less rooted in classic rock, the likes of ‘Choke’ and ‘Stutter’ feel more modern, more punchy, and ideal for a festival crowd. Who could not feel a bit sentimental going to watch a Wildhearts gig just now? Ginger, the enigmatic and most likeable frontman of the band is suffering from lymphoma, he is not looking for much by way of treatment and has decided instead to write a new album and keep on touring. Seeing the Wildhearts on the bill this weekend was a highlight booking for me. On they wandered just after 5 o’clock looking just like the rag tag bunch of Geordies that they are. Band, ‘Failure is the Mother of Success’ blasts us into 45 minutes of pure, optimistic joy. At the end of the first number Ginger mentioned getting the most out of his PA. His wee comment, I think, worked a treat. For a good part of the weekend, I though the mix was a bit flat on the main stage with neither vocals not solos standing out as clearly as they might. That little nudge saw a marked improvement in the sound. ‘Mazel Tov Cocktail’ and ‘Mountain Radio Silence’ are top tunes. For me though, the song of the weekend, and there were many played, was when Ginger broke into the ‘Theme from Cheers’; where everybody knows your name was blasted out by a crowd where everybody knows the words. I had a wee tear about then. Ginger has given me so many happy memories over the years and I was just so pleased to be able to see him play at this festival. I hope I’ll see him many times more, but if I don’t, well, he very much added to my pile of great Wildhearts memories. Love for Ginger. Aethoria are a relatively new band, having only existed for around a year, but they’ve been building a significant following online and have attracted a large crowd today. It’s easy to see why, the allure of bruising breakdowns and heavy metal oomph never going out of style. Mecia-jade Holden is petite, pretty and packed with power, a winning combination that certainly gives Aethoria an edge. Holden mentions this is the band’s biggest show to date, but I suspect others will follow. The first time I saw Ricky Warwick drive this particular train was in 1989 when The Almighty opened for the Ramones in Glasgow. They were loud, unremitting and not lacking in confidence; they could also play a tune or two and knocked the socks off the Barrowland’s crowd that night. Nothing seems to have changed much over the last 37 years. When Ricky and Co took the stage on this sunny Sunday afternoon, they were as blistering as they have ever been. ‘Power’, ‘Jonestown Mind’ and ‘The Unreal Thing’ set down a marker for the next hour. There were big signs up at the performers side of the stage, “No Swearing” they said. Either Ricky didn’t read them or, more than likely, he just didn’t care. ‘Takin’ Hold’, ‘Wrench’ and ‘Full Force Lovin’ Machine’ were highlights of the mid set. I thought, from that point on, the set tightened and the rest of the performance was lifted just a bit and it was fantastic for that. ‘Devil’s Toy’ and ‘Destroyed’ were bangers and ‘Free ‘n’ Easy’ brought down the curtain on a terrific show. I have said before, that if you were to draw a caricature of a rocker, you would draw Ricky Warwick. He has the swagger, looks and tattoos that come with the title and he does not disappoint on stage. This was truly a headliners set and, given the diversity of Sunday’s bill, for many it was the highlight performance of the day and perhaps the weekend. Almost forty years on, they are still ‘All-effin’ - Loud, All-‘effin’- Mighty. Headlining the Firestarter stage, Chez Kane provides an unashamed throwback to the 80s - all keyboards, flashy guitar solos and cheesy choruses. It’s a formula that works, with many embracing a style of music that could have been confined to the past. There seems to be some difficulty with the sound which initially renders the guitars largely inaudible, leaving us hearing mostly bass and keyboards, but it improves as the set goes on, things picking up in time for the comically titled ‘Love Tornado’ and ‘Night of Passion’! Though possibly not for everyone, it's hard to dispute that Chez brings a sense of fun; just what you need at the end of an incredible weekend of music. It is left to prog rock legends Uriah Heep to bring this year’s Maid of Stone to a close. And they do so in spectacular fashion - check out our review of their headlining set here:

One of the true signs of a great band is versatility, and the ability to venture into different pastures. Uriah Heep exemplify that approach, moving from Prog leanings, to Psychedelic, to Metal. Along the way, having the talent to dip in and out of each along the way. It's one thing to do that, though it's another to do it so successfully and convincingly. Heep are one of a relative handful to have pulled it off, and even more impressively, to have done it for so long. Starting at the very end of the 1960's, going into 1970, they've weathered every musical kaleidoscope of fortune, and come through bathed in glory. This evening, they have the tough task of attempting to appraisee that long career into 90 minutes, and in a festival setting.  Maid of Stone Festival is a refreshing experience, a far cry from the grinding nature of other events of this ilk, where we all walk off afterwards with our wallets emptied, and our teeth gnashing in displeasure. It's a great setting for UH, and they hit us with two recent offerings, "Grazed By Heaven" (from "Living The Dream"), and "Save Me Tonight" (from "Chaos And Colour"). This year is the 40th Anniversary of the arrival of Bernie Shaw (Lead Vocals), and Phil Lanzon (Keyboards and Vocals). You'd have to go a long way to over-enthuse regarding the impact and importance of their arrivals into UH. Bernie has an exceptionally powerful and adaptable voice, and also has had to cover all eras of Heep. He's done so with a masterful ease. Phil, with his musical input and arranging skills too, is so important. "Hurricane" also shows how Heep are moving onwards, having followed "Shadows Of Grief" and "Stealin'".  Founder member Mick Box wields an acoustic guitar, so it's time for the classic "The Wizard", one of many songs that give you a massive taste of 1970's Heep. The harmonies, the heaviness, the diminuendos, all perfectly pieced together. That theme continues with "Sweet Lorraine" and "The Magician's Birthday". The first of those two with glorious psychedelic overtures, the latter with an almost classical-meets-prog approach in structure. The rhythm section of Russell Gilbrook and Davey Rimmer interlocks fluidly, yet with great impact. The pair were inspired choices. Different to their predecessors, though dovetailing within the sound tremendously.  "Gypsy" jettisons us to the start of Heep's career, boasting one of the heaviest riffs from that era. This song segues into "July Morning", an edificial masterpiece of a song from 1971's "Look At Yourself". It originally served as one of many showcases for the wonderful voice of David Byron, and is also one of a raft of shining lights from the songwriting pen of Ken Hensley (on this song, with David, too) The main show wraps up with the singalongaheep of "Lady In Black", a whopping hit for them in Europe.  The first encore is the emotive "Sunrise", going right into "Easy Livin'" to send us all packing on a definite high. Let's tip our hats to Mick Box. Founder member, Lead Guitar, songwriter, vocals, and the man that's seen it all with Uriah Heep. And to Heep themselves, as one of the founders of Heavy Rock. One of our own, still doing it, still producing preeminent new material, and scintillating live workouts. "Very 'Eavy...Very 'Umble...Very loved." Phone photos by Matt Wisdom 

I was 40 years old when I finally met someone with the same first name as me. He was the piper at a Burns Supper I was at. And when you have a rare name, it makes it very easy for people to look you up online and get your details. The reason I’m telling you this is because Mecha-ChugZilla hail from Livingston in West Lothian, which is roughly ten miles from where I live, and they don’t look like the sort of people you’d want at your door. So this review was only ever going to go one way. Luckily for me, the Mecha-ChugZilla EP is 18 minutes of headbangers delight – pounding drums, heavy bass, riffs that sting and lyrics that are only half-intelligible so you need to listen multiple times to get the full message. Which isn’t an issue as this record deserves multiple listens. “You’re a failure… a f***ing waste of space!’ frontman Chris growls (I think) on EP opener ‘Failure’, over a cacophony of runaway trains that could soundtrack any of the chase scenes in Terminator 2. I’m also partial to bands that have the indecency to name a song after their own band, which makes me love this lot even more. “The army tried to kill him but they failed… I want to take him back home, it’s Mecha-ChugZilla’. Even if that’s not what the lyrics are, that’s what I heard, and isn’t that the most important thing? The band added the ‘Mecha’ to their name earlier this year, and this extra metal can be found in ‘Backstabber’ and EP closer ‘Down the Rabbit Hole’, which might be the weakest song here but lies in the wake of three such brazen beasts of tracks that it may need a solo outing later to appreciate it. Liverpool, Manchester, Sheffield… ok, you won’t find Livingston on anyone’s list of British musical pilgrimages, but Mecha-ChugZilla are a lot of fun and, if you’re lucky, will be raising your town to the ground soon.