It’s good to be back in Mote Park, and better still to see beautiful blue skies overhead. It’s Friday afternoon, and Maid of Stone Festival has returned for a fourth year. No longer just an aperitif for the main event, the Friday line-up now boasts eleven bands across two stages plus a couple of additional performances exclusively for VIP guests. The site looks a little different to previous years in terms of layout, but remains pleasingly compact, the Inferno (main) stage no more than a few minutes away from the Firestarter (a showcase for up and coming talent). There’s no clashes between the two, with performances set to alternate throughout the day, and consequently no excuse not to catch at least some of the lesser known acts. Planet Rock DJ Paul Anthony has become something of a fixture at Maid of Stone, so there’s a pleasing familiarity in seeing him back on stage. His first introduction of the weekend is for young Australian Cassidy Paris , who has landed the opening slot on the main stage. Attracting attention in a very small red playsuit and matching devil horns, her music is catchy, melodic and easy to enjoy. ‘Wannabe’ is bouncy and fun, ‘Stronger’ an empowering anthem that Paris credits with changing her life. The influence of hair metal is evident, both in Paris’ own power ballad ‘Here I Am’ and a cover of Danger Danger’s ‘I Still Think About You’, the latter getting arms waving in the early part of the day. Joined on stage by Russ Grimmett of Fireheart for ‘Nothing Left to Lose’, the pair harmonise well and bring the set to a memorable close. Over on the Firestarter stage, Bournemouth based foursome Regional One play moody, dark music that feels a little odd against a sunny backdrop. ‘Control’ cleverly combines sharp riffs with contrasting, jangling verses and ‘Sold!’ has something of Shinedown in the commanding vocal delivery. Hard to put any particular label on, the audience seem to enjoy what they’re doing, joining in with the “woahs” that give ‘Hide’ an unforgettable hook. Canadian guitarist Anthony Gomes kicks things up a notch on the Inferno stage, heading up a power trio with a winning combination of charismatic stage presence and heavy blues riffs George Thorogood would be proud of. With his red leather trousers and white Flying V, Gomes makes quite the impression, proving himself an underrated guitar hero. Songs like ‘Painted Horse’ and ‘Fur Covered Handcuffs’ are so upfront and so immediate that it’s impossible not to get involved. A likeable raconteur who amuses with his self-deprecating humour (describing his band as the “ugliest in the charts”) and his appreciation for Tesco (something we have in England that he doesn’t have at home!), his between song banter is as fun and enjoyable as the music. Signing off with the words “peace, love and loud guitars”, it’s a philosophy we can all get behind. DeVere are not a band who deal in subtlety. They’ve got a strong look and present themselves with an arrogance that has you believing they’re already stars. It takes a while for frontman Sam Cassidy’s mic to start working, but that doesn’t stop him going for it, and when the mic finally comes to life, his style is so intense that you worry he might pass out. I mean that as a compliment, because he certainly gives his all to the performance. Loud and uncompromising, DeVere have got the songs to back up the image, ‘Empire’ and ‘Like Lightning’ are as catchy as they are heavy. Once seen and never forgotten, you get the sense that DeVere will make a mark on any stage they grace. It’s somewhat more mellow over on the VIP Acoustic Stage, where the ever popular Jack J Hutchinson is delivering some gentle takes on his tunes with bassist Greg Smith. The moving ‘I Will Follow You’ works particularly well in this format, and it’s interesting to hear ‘Call of the Wild’ cleverly reinvented. Hutchinson seems to be a man who can turn his hand to any occasion, and it’s no surprise that he’s attracted a decent crowd here. The New Roses feel like the perfect festival band. Even if you’re not familiar with any of their songs, the likes of ‘Attracted to Danger’ and ‘The Usual Suspects’ are so easy to pick up that you’ll soon have the choruses sussed. Delivered with German precision, The New Roses are tight and professional without ever being boring. Frontman Timmy Rough has a fantastic voice, giving real authority to ‘Bring the Thunder’ and ‘Forever Never Comes’. A well placed cover of Neil Young’s ‘Rockin’ in the Free World’ provides an opportunity for a good old singalong, but their set is joyful throughout. Sam Morrow satisfies any yearnings for Southern rock with his authentic Texas drawl and songs from latest album ‘Southern Boogie’. An unlikely cover of Pink Floyd’s ‘Have a Cigar’ brings his performance to a close, but it works surprisingly well. And it’s always welcome to hear something familiar amid all the new music on display. Few bands are as reliably brilliant or as shamefully overlooked as FM . In Steve Overland, the group have a wonderful, soulful singer who deserves to be recognised as one of the AOR greats. His voice is as good as it has ever been, and from ‘Digging Up the Dirt’ via ‘That Girl’ and ‘Synchronised’, FM are just perfection. The harmonies that dominate ‘Black Water’ are something to behold, but it’s keyboard heavy anthems ‘I Belong to the Night’ and ‘Bad Luck’ that get everyone singing along. As the band give their thanks, the sound of “we want more!” rings out across the park, a real compliment for one of the only ‘classic’ bands on the bill. It’s rare to stumble upon a band who genuinely seem to be doing something different, but Morganway certainly have a unique approach. The stage looks very busy with a keyboard player and violinist in addition to the usual guitarists, and sounds at times akin to a rock and roll hoedown. Fronted by hollering front-woman SJ Mortimer, they mash up genres whilst making it look very natural. Latest single ‘Machine’ takes aim at Spotify but sounds oddly chirpy for a song that is inherently angry! A band you suspect could appeal to many different audiences, they do a great job of winning over a rock crowd. Perhaps an unlikely choice for the acoustic stage, Juliet’s Not Dead sound fantastic as I wander past, perfect harmonies and engaging songs entertaining those who have paid for the ‘posh’ seats. There’s some debate about whether the VIP tickets are really worth it this year, given that the acoustic stage can be seen quite easily from the other side of the white picket fence! But given the nicer toilets, shorter queues for the bar, a goody bag and access to some really tasty toasties, I still feel reasonably satisfied! (On that note, do check out RNR Toasties if you get the opportunity - the Meatallica is absolutely delicious and packed with fillings!) Southern by their very nature, A Thousand Horses successfully break away from tradition with a Nashville sound uniquely their own. Much of that is thanks to Michael Hobby’s voice, which has an unusual rasp not usually associated with Southern rock. Cuts from latest album ‘White Flag Down’ provide much of the set and sound even better than their studio counterparts. ‘Dead Man Walking’ is a great opener, hard rocking and lively, ‘Part Of My Story’ somehow both sad and optimistic. I’m not much of an Oasis fan, but ‘Champagne Supernova’ is so familiar that even I’m singing along to a cover that suits the band surprisingly well. Admittedly, I prefer their own ‘Highway Sound’ which goes full country rock with the addition of harmonica and some lovely twin guitar interludes. Hailing from the “Deep South of Ireland”, Crow Black Chicken prove to be one of the biggest surprises of the weekend. A fascinating power trio, Christy O’Hanlon’s deep, resonant voice is as powerful as Stephen McGrath’s thunderous bass rumble that vibrates right through your chest. Perhaps a strange choice of headliner for the Firestarter stage (there’s not likely to be any songs that you know), they win the audience over quickly with their unique groovy blues. I hear many referencing the band as one of their favourites of the day, a true accolade given how strong both stages have been. It’s so good to have The Temperance Movement back, and better to discover that they sound just as brilliant as I remember. Worthy headliners who know how to please a crowd, Phil Campbell is as reliably spring-footed as ever, moving around the stage in his own inimitable way. Just as Jagger has his moves, so Campbell has his own, and it makes him a fascinating presence on stage. Drawing from their three studio albums, with a few new songs thrown in, the band give us enough familiar favourites (‘Ain’t No Telling’, ‘Caught in the Middle’, ‘Take It Back’ etc) that we’re more than happy to indulge ‘Always Been Love’ and ‘Silverlight Blues’, enjoyable tasters of the new album set for release later this year. Campbell thanks us for our patience with the new songs and seems genuinely thrilled to receive such a warm reception. He remarks upon the intimate show the band played in Deal last night, but decides “this is a bit better!” Gentle ballads ‘Smouldering’ and ‘Pride’ are nestled in amongst the Face- style joy of ‘Be Lucky’ and raucous ‘Get Yourself Free’, ensuring that the momentum doesn’t slip. Campbell says “we love you”, and it's clear we love the Temperance Movement right back.

It's Friday the 3rd of July and I am once again in the finest small venue in Glasgow, I am in Audio in Midland Street to shoot tonight's KURO gig. I was asked to cover this gig not long before, so not a major amount of time to do some research. To begin with, I looked on KUROs social media page to get the gig details, I follow the link which takes you to a site to buy tickets, not that I needed a ticket, however it did give a door time of 6pm. I arrange transport and gets dropped off outside Audio at 5.50pm, the place is deserted, which I am surprised as KURO usually pulls a crowd in their hometown. I step into Audio and instantly greeted by Kuro Andrews, KURO frontman, usual pleasantries over (I have known KURO from their first gig) I'm told the band are heading out for dinner, which left me even more confused, until I see door and stage times on the inside of the venue door. I door time is actually 7pm! Well I am not leaving to come back in a hour. I perch myself at the bar (which is not open yet) just as the main support, Burning The Dream take to the stage for their soundcheck, I've known about the band for a while, having seen videos on social media, also knowing their guitarist Greig, some of you might recognise Greig too from one of my previous reviews, Greig also plays guitar with Six Year Silence. After their soundcheck, I have a few words with the lads, then they also head out to get fed too. Next on stage for their soundcheck are opening band Mercy Prevails. Now this band isn't just young, they are YOUNG! I'm sure I heard that tonight was only their third or fourth gig! The band are a four piece, 2 lads and 2 lassies. As I know how drum sticks work, I tend to pay attention to drummers first. What happens next leaves me speechless, this young lady is f/king phenomenal! These days, that word gets thrown around too easily, yes there are great musicians out there, there are also some spectacular musicians out there too, but rarely you get someone who can leave you dumbstruck after quarter of a song during a soundcheck, and it just keeps getting better, and this is still the soundcheck! After the soundcheck, I head up onto the stage to have a word and to get a couple of photos, to be honest, with dealing with bands for a while, I just tend to jump in, like most of us do, I didn't even think for a minute and just jumped in again, the young lady looked absolutely terrified, there I am in front of her with my camera right in her face, oops, my bad, but I did get a couple of shots, she still looked confused when I left. Twenty minutes later, the doors open right on 7pm, no hold-ups at all. Fifteen minutes later Mercy Prevails take to the stage, having been there earlier, I know what is coming next. I'll just say it's really great to seeing women getting involved in some of the heavier genres of metal. YES I do know there are some out there, but it's still pretty rare. Mercy Prevails play a kind of melodic death/metalcore crossover style, with both soft and harsh vocals. Now not being a major fan of growling or screaming, it's ok in small doses, but tonight, the MPs singer sounds a lot more comfortable with the harsh vocals. For a band that has not played often, they don't move about much, but that will change the more they play, you could see them relax more as their set progressed. Again, as a new band they should be proud of tonight's performance. There was also a healthy crowd in for these youngsters, a smattering of proud parents and friends who sang along helped with the nerves on stage. Will Mercy Prevails make it in the music business? Who knows, every other band out there knows how difficult it is. If they put the same effort in as they did tonight, they are in with a chance. There is one thing I am 100% sure of, when other bands see and hear the young lady on drums, every single one of them will be knocking on here door. Lets get one thing clear here, I am not suggesting that the young drummer should ever leave her band, far from it, every band gets better and bigger with loyalty within, I am saying is this young lady will have a lot of offers coming to her door, and not just local bands. YES she is that good, and I'm not the only one who said so tonight. Burning the Dream are a five piece and are next on to the Audio stage, and another band that is difficult to pigeon hole, which is not a bad thing, like our first band, there are some melodic death/metalcore sound to them, Arch Enemy/In Flames vibes with some Judas Priest thrown in too. Unlike our opening band, Burning the Dream do not build their performance, they are on it from the first note. Being a support, they too are restricted by time, so what half dozen songs do we get to hear tonight? If you have read my Acid Reign review, you will have read how difficult it can be to get to see a setlist, this time however, because I was present for the soundcheck, I got a glimpse of tonight's setlist. "One Shot, One Kill" kicks off a blistering set, followed by "Name Yourself". Chat between the band and crowd is sparce, but considering it is a 30 minute set, it is understandable. "Strongbow" and "Who Are We" follow rapidly, which leaves "Rebirth" and "Requiem" as the final 2 songs, pounded out with an intensity set up for KURO to take over. During the break the atmosphere in Audio changes, no actually the whole dynamic changes, we have had two heavy metal bands, now we move to our headliners, the anticipation is at frenzy level. KURO have a unique intensity about them. I have been lucky to have seen the bad progress from the very beginning, when it was duo, Andrew on vocals and occasional keytar, and Jb.Storm on bass, they are now a four piece with David on drums (another great drummer) and Robbie on guitar. Over the years they have had a couple of known guitarists play with them, Gabriel Lennox from Glasgow band Seraph Sin and more recently with Industrial legend En Esch. Kieran Robertson, who carved out a reputation touring in America and becoming former Queensryche legendary frontman Geoff Tates guitarist has also played with KURO. KURO have spent the last couple of years on the road building a reputation and fine tuning their sound. The last time I saw them they were one of the support bands for Industrial stars Combichrist. As they take to the stage there is the usual roof raising noise from the Audio crowd. There is a change onstage since the last time I saw KURO, not membership but a slight change in appearance, ok, one of the band has a change in stage gear, bassist J.b Storm has ditched the heavy black and white make-up, appearing more "natural". His persona has also changed, in the past, while onstage, he was always aloof. I have joked with him many times that one day I'd catch him smile onstage, he was rather adamant, in a fun way, that would never happen, pity we never made a wager, because he was grinning like the proverbial Cheshire Cat all night. Frontman Andrew glides onto the stage like a train on rails oozing flamboyance, his face make-up that any of the worlds super models would be proud of. The bands sound is a lot tighter than the last time I saw them, which was a year or two ago, everything is a lot tighter, well not J.bs facial expressions lol. After a couple of songs we have our first chat to the crowd. Andrew rhymes off a list of personal pronouns and states that everyone is welcome and safe at every KURO gig, to be honest, that should be the case for every band and every gig. KURO have a 14 track setlist, I have to admit it's difficult to pick out individual, stand out songs because they all stand out, however, there are two that stand out more for me, "I Hate You" and "Wake Up & Choose Violence" two songs that have deep negative connotations. This is like modern day social media "clickbait" posts, you either ignore them and make up your own meaning, or you dig into the actual lyrics and then take from it. A few years ago I saw Nick Cave doing a "Spoken Word" tour, he said something that makes perfect sense, but not many bands say the same, he said "once the song is released and out there, it is no longer mine, you decide what it means to you" I keep saying I am not a reviewer, I am a photographer, but I continue to hope that I give a honest opinion on what I remember, it might not be 100% factual on what happened timewise, but I hope it can give you a mental picture of how I see what happens onstage while I am trying to capture the band enjoying what they are doing. As always, if you don't know any of the bands above, even if you do, head on over to your favoured social media platform and have a look, you never know, you might find something new to add to your daily playlists. See you at the barrier. Photos by Jai Dee Photography

Released on 7Hz Productions.

Set for Release on September 4th via Frontiers Music Srl

Billed as “40 Years of Rains … and 65 of Disgrace”, Tyla’s Dogs D’amour brought their latest tour to the Voodoo Rooms in Edinburgh as their second home of Bannerman’s was still undergoing repair for water damage and pre-booked dates had to be switched to alternative venues. Located on the other side of Princes Street (tucked in behind the Cafe Royale and Guildford Arms - both fine pubs in their own right) we were on different territory and trading the Old Town for the New Town tonight; and at £10.40 for a glass of wine, I was unsure if a bed was included … sadly, it wasn’t. However, as (Spike and Tyla’s) Hot Knives would also be playing and it was no less than Tyla’s 65th birthday, we had the makings of a special (if more expensive) night with fans attending from all over the U.K. and beyond. In the mid to late ‘80’s, and their early and chaotic days of “smoke, sniff, drink, swallow and repeat”, the Dogs D’amour carved a short, but unforgettable trail of debauchery and joy around the world. Propelled along by their founder Tyla’s unique and unrivalled love songs, tales and lullabies from the gutter, delivered through his characteristic street poetry with heart proudly worn on sleeve, few then would have imagined Tyla would still be alive, kicking and leading the latest incarnation of the Dogs 40 years later. Fewer still would have imagined how good they’re sounding. Make no mistake, Tyla’s Dogs D’amour (MMXXVI) are a fierce live band and also probably the heaviest and best I’ve heard them. Mirroring the revolving line-up of the Hot Knives, and reflecting changing professional or personal commitments, a number of line-ups have played with Tyla over the last couple of years and sometimes you don’t know which you’ll get from gig to gig. However, the current tour which has seen them play all over the U.K., in many venues new to them, has seen the emergence of a more stable line-up which to my ear is musically the best they’ve sounded for a while. While Tyla is still at the centre and holds everything down with his beloved Gretsch, Jamie Turnbull, the band’s Edinburgh-based producer, lover of grunge and who also played guitar on Tyla’s most recent album ‘Gilding the Lily’ has brought a new dimension to the band on guitar live. Playing his Les Paul, the sound, as you may expect, is fuller, meatier, rawer and rockier than you might expect of the Dogs and making them sound more urgent. Just as importantly, he also knows the value of a song and he avoids guitar histrionics with his playing complementing and not over-powering things. After missing a few gigs it’s great to see Matty James Cassidy back on bass with Ace Carlton emerging as their regular drummer. Individually, they’re all really good musicians, but gel brilliantly as a band. And watching them on stage, they look re-energised. With main billing being given to the Hot Knives (which tonight would take the form of the band plus Spike), Tyla’s Dogs d’amour supported themselves and played a short celebratory set of fan favourites - ‘Last Bandit’, ‘Firework Girl’, ‘I Don’t Want You To Go’, ‘Heroine’, ‘Billy 2 Rivers’, ‘What You Do’, ‘Satellite Kid’ and ‘Drunk Like Me’. Struck as I always am when I hear these songs, I never tire of them. They still sound fresh, never stale. They lift my mood when I’m down and life can feel too much. Songs which will tattoo their words and melodies on your soul and not let go. If the air conditioning was working, it was completely overwhelmed by another night of really high temperatures with the bar or hallway outside the gig room providing welcome air and respite from the heat - venues in Scotland are not built for this. But what I can say is that Tyla’s Dogs D’amour sounded just as good both inside and outside the gig room. Fighting the heat and in the spirit of the World Cup, the band took a ‘hydration break’ (possibly involving alcohol …). Without boring you with the details, as much as I’d have loved to stay for the Hot Knives’ main set, my health hasn’t been great recently and combined with the heat, I knew when I was beat and left the gig. To anyone who knows me, not an easy choice. In doing so, missing out on Spike and Tyla playing songs from one of my favourite albums, lots of banter and a great and emotional cover of and crowd singalong to ‘It’s a Heartache‘ in memory of Bonnie Tyler who’d died overnight (you’ll find it online). Another night of great entertainment. Glass raised. GMcA

I’ve got to be honest, I don’t really know anything about Cancer Bats. I’ve heard of them (obviously!), and know that their music is categorised as hardcore punk - not really my scene given I’m usually geeking out over some classic prog or 70s rock. But I adore Black Sabbath, and these Canadians clearly do too, having toured intermittently as Bat Sabbath since 2011. So I’m here to see what they’ve got, and to enjoy some of the finest songs in metal, assuming they’re not too far removed from the originals! But first, Kent quartet Sun Messiah are here to warm up the room. Not that it needs a great deal of help, given the Booking Hall already feels much like the interior of an oven this evening! With their powerful, doomy riffs, and some-time dual vocals reminiscent of Alice in Chains, Sun Messiah successfully meld their influences into something unique. Occasional guttural growls give extra weight to metal that is intricate and intense, the twin guitar mastery enhanced by an impressive rhythm section who cleverly work in some off beats, throwing my head-banging attempts in the most pleasing way. And then there’s Battlesnake. A spectacle unlike anything I’ve ever witnessed, they are undeniably bonkers and utterly brilliant. From their matching stage robes which look like something the Pope might throw on when he’s in the mood for a bit of sparkle, to Priest-like bangers that speak of mysterious ‘Motorsteeples’ and ‘Pangea Breakers’, watching them is an absolute joy and has me smiling ridiculously throughout. Vocalist Sam Frank is particularly dynamic, fully embodying the role of some reptilian overlord as he sticks out his tongue, leaps off the drum kit and commands that we put our horns on our heads. It’s hard to know where to look given the energy of the six men on stage, though I feel it’s best to ignore the budgie smugglers that all of them seem to be harbouring beneath their costumes! Easier said than done when keytarist Billy O’Key and Frank strip down to theirs and are paraded around the room Angus Young style during a raucous ‘Let There Be Rock’. I suspect this venue doesn’t really know what’s hit it, but everyone seems to want more. The anarchic presentation, hard riffing guitars and outrageously catchy choruses (altogether now… ‘I Am the Vomit!’) make Battlesnake unforgettable. When Bat Sabbath tear into ‘Children of the Grave’, I’m initially a bit thrown by Liam Cormier’s vocals, which are pretty far from Ozzy’s melodic delivery, and more of a barked shout. But I can’t argue with his energy and enthusiasm as he asserts that we are here to “worship the Gods of metal known only as Black Sabbath”. And it’s impossible not to enjoy these songs. Remaining fairly close to the source material, though occasionally a little faster and more aggressive, I love Cormier’s prolonged growls of “YES!” into the microphone between tracks, an audible appreciation for the music he’s interpreting. There are nods to Ozzy, in guitarist Jackson Landry’s tasselled jacket and Cormier’s cape, but this is no cheap imitation, rather an unapologetic celebration that barely pauses for breath. All the essentials are in place, a frantic ‘Supernaut’, brutal ‘Electric Funeral’ and relentless ‘Symptom of the Universe’. I look around me in wonder that songs written some fifty years ago can still hold so much power - ‘Paranoid’ still sends everyone crazy and ‘Iron Man’ holds up as one of the most iconic riffs of all time. As ‘War Pigs’ blasts into the night, I head off to catch my lift home, possibly several pounds lighter than when I arrived (well… we live in hope!). My hair is soaked, my T-shirt needs wringing out and I ache from my head-banging excursions; indicators of a pretty good night I’d say! The Bat Sabbath UK tour continues, check out the remaining dates here:

MASSIVE WAGONS Release New Single “Story Of My Demise” Out Now via Reaper Records

Well now, what do we have here? Well for starters we have a glorious classic rock sound that would not be out of place on a Bad Company album; think big guitars, bigger harmonies and some immaculately cultured and placed Hammond swirls. Secondly, and this is absolutely what made this pop out of the pack of new songs I’ve got to listen to, we have the glorious voice of Matti Alfonzetti! Yes, the crown jewel of Sweden’s hidden gems is back behind the mic and he’s sounding mighty fine. In the Wind is out now and is the lead single from the four-track EP that is set for release on the 18th September….if the single is anything to go on, I suspect you’ll be hearing from me again real soon. Much love SS Black Blood Sthlm tracklist: 1) In The Wind 2) In Know You Believe 3) Fallen Angel 4) Holy Man Black Blood Sthlm line-up: Matti Alfonzetti – Vocals Stefan Bergström – Guitar Jarmo Lindell - Bass Johan Kullberg - Drums

One of the UK's current rising young rock bands, The Karma Effect have chosen a great setting for a promo gig. The Gibson Garage is covered with new and vintage Gibson guitars, and all the gubbins that goes with them. As a very guitar-driven group, the Karma Effect are in their element here. Apparently, this is their third time at this venue, so it's almost becoming a residency for them. As they hit the tarmac running, with the first few songs fired off with Gatlin Gun ferocity ("Dangerous Love/"Wild Honey"/"All Night Long"/Wrong Again"), it's very clear they are well oiled machine. Immediate comparisons are The Black Crowes and Thunder, and that's a fine compliment. Now on their third album, their current line-up is Henry Gottelier (Lead Vocals/Guitar), Robbie Blake (Guitar), Nate Keevil (Bass/Vocals), Tom Pitt (Keyboards/Vocals),and Alan Taylor (Drums). They've recently breached the charts with their new album, and it's not tough to work out why. The songs are there, the performances are there, and so is the rapport with the audience. Henry has a very strong voice, and definitely has the rock star demeanour. The rhythm section is very locked in, and also slips in and out when needed (Oooer, Matron). I'm also very impressed with Keyboard player Tom Pitt. Very deft, and even played with one hand a couple of times whilst talking to people. Very cocksure. (Ohhh, STOP it!!!!). The Guitars of Robbie and Henry intertwine very well, too. "River" and "Steal Your Heart" keep the ante at the top end, and in truth, the set really doesn't dip at all. It's nice to see a young set of lads keeping the classic rock oeuvre close to their hearts and chest wigs. As I leave the venue, I'm left wondering if Chris Robinson and Luke Morley are more than just good friends..... Phone photos by Matt Wisdom