Album & Live Reviews

It’s a miserable evening in Ramsgate, and though I’d like to say it’s warmer in the Red Arrow Music Club, I can’t, because it’s bloody freezing! But I like it here, and it’s becoming something of a tradition to start a new year of live music at this venue. I suspect Star Circus have faced livelier crowds, but tonight they find themselves looking out at an audience seated around tables, some clutching a nice cup of tea in place of the more traditionally rock and roll beer! No matter, this North London quartet give it their all, and reveal themselves as a band brimming with ideas (and some pretty catchy choruses too!). With their irresistible mix of heavy riffs, vocal harmonies, twin guitar interludes and generous use of cowbell, sometimes all in the same song (look no further than ‘Chained to You’) Star Circus ensure that they’re not just remembered as the support act, but an attraction in their own right. I’m ashamed to admit that I haven’t really paid much attention to Brave Rival since they arrived on the scene several years ago. I’ve heard good things and know that they were recently crowned Band of the Year at the UK Blues Awards, but that’s about the extent of my knowledge. So I’m delighted to discover a band who favour the harder rocking side of the blues, and are blessed with a compelling point of focus in singer Lindsey Bonnick. Beautifully clear and controlled, even at the top of her range, she’s also a likeable presence, joking that after two weeks off she’s forgotten all the words! Capable of delivering attitude on the stompy, shout-along ‘Bad Choices’ and swampy sleaze of ‘What’s Your Name Again?’, Bonnick is just as comfortable with the gently emotive ‘Heavy’ or hollering epic ‘Try Again’. There’s a lovely camaraderie within the band, a warmth in their interactions that positions Ed Clarke as the playful little brother; albeit a very talented little brother who can deliver masterful guitar solos, like the one that dominates the authentically bluesy ‘Stars Upon My Scars’. A song that’s allowed to stretch out, it culminates in an extended jam, bassist Billy Dedman dancing particularly nicely around Clarke’s guitar work, while drummer Donna Peters holds it all together, crashing in dramatically at the conclusion. All five songs from recent EP ‘5 to 4’ get an airing as the evening progresses (though Bonnick has to think about it for a moment!), and all feel worthy of inclusion. ‘Let Me Rock ‘n’ Roll’ is a condemnation of the misogyny that has been so prevalent in the genre over the years (or at least that’s how I’ve interpreted it!), and rocks as hard as the swaggering ‘Wild Child’. A riotous ‘Poison’ sees Clarke and Dedman aiming their guitars like weapons, a pleasing visual to accompany a song with plenty of kick. Though predominantly an evening of joy and banter, there is also sadness as Clarke reflects upon time spent with fellow guitarist Matt Long, who was just 29 when he succumbed to bowel cancer. It feels important to keep his music alive, and Brave Rival do just that with a spirited cover of Catfish song ‘Up in Smoke’. It’s a lovely way to cast the spotlight on a man whose talent was taken much too soon. If anything makes you feel more grateful for life than live music, I’m yet to discover it. It’s raining outside, and I’ve still got my coat on, but I wouldn’t have missed this evening for anything. Is it too soon to call myself a Bravian?! Star Circus Dave Winkler - Guitar/vocals Sophie Aurelia Young - Bass/vocals William Robertson - Guitar/vocals Reuben O’Donoghue - Drums Brave Rival Lindsey Bonnick - Vocals Ed Clarke - Guitar Billy Dedman - Bass Donna Peters - Drums Setlist Let Me Rock ‘n’ Roll/Bad Choices/Poison/Seventeen/On the Next Round/Stars Upon My Scars/What’s Your Name Again?/Wild Child/Control/Try Again/Up in Smoke/Run and Hide/Heavy/Fairytale

Hero is the newest single from gothic alternative rock band Your Personal Vendetta, fronted by former Blood-Stained Reputation guitarist Baz Pierrepont. Hero follows the path the band has already forged with previous singles like Prom Queen and Cascade and shows the group have no sign of losing form any time soon. The synths used are dark, from the bells to the diminished arpeggios under whispered vocals and pulsing bass drum, the track sends shivers before it even reaches the chorus. The song continues to build and build, upping the intensity with harsher vocals and richer ambiance. Hero would be a perfect addition for any EDM or gothic club playlist. For fans of Cassyette, In This Moment, Marilyn Manson.

In early 2021, I was scouring the internet, YouTube and music streaming services looking for new music to listen to. I wanted something from an unknown band that I’d never heard of but crucially, I really needed it to speak to me and give me some much needed aural pleasure! A few days into my search, some songs had been added to a playlist but to be honest, none of it had the wow factor I was looking for. That was until one of the well-known streaming services used its algorithm and tracking of my musical preferences to suggest a band called Bad Penny. Well, I’d never heard of them, so the first box was ticked… but what about the music, a rock ballad called ‘Lose Myself’ featuring none other than former Journey frontman Steve Augeri? Being a sucker for a ballad and for the voice of the aforementioned Mr Augeri, I was hooked immediately and in the five years since I first heard that song, Bad Penny have released several other brilliant singles featuring a diverse range of heavyweight guest vocalists from Rob Halford and Corey Glover to Dee Snider and Robin Zander. The brainchild of songwriter/guitarist Mike Holtzman, Bad Penny haven’t quite managed to release an album yet but going by previous release patterns, I always anticipate some kind of new music news in the first quarter of the year or so. As the famous ‘One O’Clock Gun’ blasted in 2026 from the turrets of Edinburgh Castle, I checked social media regularly, looking for a hint of something new from Bad Penny that would help me through a cold Scottish January! Fortunately, I didn’t have long to wait, with Holtzman proudly announcing that the band’s latest single, ‘Love Bomb’ was due for release on 9th January and would feature none other than the legendary vocalist of The Runaways, Cherie Currie! With the line up completed by permanent members Tony Bruno (Joan Jett & The Blackhearts, Rihanna) on guitar and Danny Miranda (Blue Oyster Cult, Queen) on bass, as well as Broadway veteran drummer Mike Sorrentino, is ‘Love Bomb’ going to cause a musical explosion that will be heard in all corners of the rock world? Starting with a drumbeat that immediately transports the listener back to the heyday of 1970s glam rock, followed by a vocal squeal and solid yet simple speaker shaking guitar riff, you can almost visualise the band in bell-bottoms and platform shoes, performing on the flimsy looking Top of the Pops set on BBC Television! Think Sweet… and dare I say it, the disgraced Gary Glitter and his ‘Rock & Roll’ song before his well-deserved fall from grace. The point is that it’s pure and immediate nostalgia and the gateway to the soundtrack of many a childhood… and the older I get, the more I love new music formed on a classic template. It’s comforting, like a big warm and heavy musical blanket. As Cherie Currie’s unmistakeable voice appears, there’s almost a ‘twenty a day’ rasp to it that adds to the wonderful vintage feel of the music, with the drums remaining loud, proud and prominent in the mix, just like it used to be! “I walked out on you” sneers Currie. But why, you may well ask! “Coz, I wanted to” she replies in a carefree, brutally honest manner! There’s no messing with Cherie Currie in this song! There’s no definite verse, chorus, verse, chorus, bridge, chorus structure to ‘Love Bomb’. From the outset, it’s just a loud and fun song based around a brilliantly meaty guitar riff that sounds as if it has been recorded live on a vintage Les Paul through a classic Marshall stack, just like our heroes did back in the day! I dare you to try to sit still and not bop your head or tap your feet. Bet you can’t do it, such is the infectiousness of the song. There’s a strange little spoken section midway through, where a man who clearly feels he has been wronged opines “if I don’t do what she wants to do when she wants to do it, then I’m a jerk”. For the last 21 years, I’ve called this marriage! But of course, I’ll deny this statement if the wonderful Mrs Griffiths ever hears of it… and I’m also banking on her not reading this review! Anyway, I digress! The glam rock feel continues with a superb squealing and screeching guitar solo. Sticking with the template of previous Bad Penny guitar solos, it’s not overdone and doesn’t outstay its welcome. It doesn’t try to be the ‘Comfortably Numb’ or ‘Freebird’ solo, hogging the musical limelight. It simply fits perfectly with the music and other bands and guitarists should take note. Sometimes, less really is more! As the songs ends with the catchy verse/chorus hybrid and guitar riff and Currie’s voice signs off with another squeal, I open my eyes to find myself back in 2026. The news tells me that the world is still in turmoil, there’s wars still being fought and there appears to be very little positivity anywhere. So, there’s nothing else for it other than to press play and listen to ‘Love Bomb’ again, closing my eyes and allowing the music to take me back to a time when worries were less and glam rock ruled the airwaves. I’d urge you to do the same! ‘Love Bomb’ is out on the usual platforms on Friday 9th January 2026. Fingers crossed for the long-awaited Bad Penny album at some point this year too!

At many points over the last 40-odd years, I've seen countless amounts of Prog groups arrive, and usually, disappear without a trace. In some respects it's a very exacting area to achieve success, and moreover, to maintain any inertia, once there. One of the few acts to transcend any such inconvenience is IQ. In 2026, they reach their 45th Anniversary, With a huge amount of deftness, they've avoided any of the laws of depreciation, and not only that, have flourished massively. Their recorded output still very much glistens, and tonight, at Islington, we receive a wonderful cross-section of it all. Islington Assembly Hall is a lovely venue. Nearing 100 years old, and part of the old Town Hall, it has an array of Art Deco ornamentations that fit perfectly with the colourful music of IQ. After a warm and friendly set of videos, they arrive with opening song "It All Stops Here" from the "Seven Stories Into Eight" album from 1982. Hot on it's heels are "Sacred Sound" from "Dark Matter", and "Subterranea", from the album of the same name. When you consider that IQ aren't playing a large amount of concerts each year, it's startling how "together" they are. Each member is very dexterous and contrasting, yet harmonizing perfectly. The word "Progressive" sits very well with IQ, in it's realest sense. Always moving forwards, and including everything you'd expect from a top-tier outfit. Melody by the cart load, space when required, dramatic movements and intricate time signatures. The most recent three albums from the group ("Dominion"/"Resistance"/"The Road Of Bones") are represented well here. It's a great thing, too, as I would make a case for those three releases being up there with the premier end of their output. Four of the Five members, Peter Nicholls (Vocals), Mike Holmes (Guitar), and Paul Cook (Drums:- "Taking time off from The Sex Pistols", as Peter Nicholls puts it) and Tim Esau (Bass) have been together (excluding some minor/non-minor gaps) since 1982. Neil Durrant (Keyboards) arrived 15 years ago. During the mid-section of the concert, "Never Land" and "Far From Here" from this year's "Dominion" are played, and the title track of "The Road Of Bones". I mention these, as they plant themselves amongst the stand-outs from the evening. This echoes the sentiment of the recent output being as valid as (at minimum) the older songs. "Shallow Bay" from "Resistance" is wonderful, too. Three top-end albums in just over ten years is almost indecent by Prog reasoning, but there you have it. A lovely surprise is a cover of "I Believe In Father Christmas", by Greg Lake. Whilst not sticking entirely to the original arrangement, it works wonderfully and is timed well, due to the 50th Anniversary of the song arriving this year. I'd like to make a special mention of the "duo" of Peter Nicholls and Mike Holmes. Peter's voice is truly original, unique, and full of emotion and phrasing. Those skills are immediately arresting from the start of every song, and onwards. He also has lashings of personality. Mike Holmes....well feel free to mention him at the same time as David Gilmour and Steve Hackett. You wouldn't be over-egging it by putting him there. Outstandingly melodic, with a natural sense of knowing when to play, and when not to. You can't teach that. The main set ends with "Headlong" from "The Wake", with "The Last Human Gateway" from their debut "Tales From The Lush Attic" album, following it as the first encore piece. IQ have always offered a very distinct and multifaceted version of "Nu Prog". They've somehow avoided repetition, kept unique, and played to the highest standards along the way. This evening was a great flag-waver for all of that. They are amongst the UK's finest musical sons, and tonight was a great illustration of that fact.

All roads led to Bathvegas on Friday as local band VICTORY OR DIE held an end of year~birthday bash to celebrate what has been a phenomenal year for the band with a performance at WinterStorm Festival a few weeks ago coming amid a support slot for Graham Bonnet's latest tour and legendary Scots rockers Gun. Opening the night on a three band bill were Those Made Broken from Glasgow who brought a very new alternative metal sound, it was not what I expected but the songs were very much in the style of Korn or Bring Me the Horizon with a melodic twist, an entertaining opening 40mins and certainly made me check out their spotify links for another listen. The newest single is certainly well worth checking out as it merges the heavy alternative sound with melodic vocals. Next up we had young rockers Bad Actress although given they burst onto the scene is 2018 maybe not so young any more. Its been a tough road as they just began to gain traction and then along came covid, line up changes have also given the boys troubles to overcome when Toby decided to leave earlier this year. This prompted drummer Lui so step forward and take on the frontman role and this was my first time seeing the band since. WOW what else can I say, his talents were being wasted behind the drumkit, for all the world like a young Steven Tyler he brings a whole new dimension to the songs new and old. The boys have an infectious energy about them, they love being on that stage big or small and have some great 80's sounding songs to back it up. The newest song Feel My Pain is certainly and emotional one for the band detailing the struggles life can bring. Lets hope 2026 continues too see the boys build on a reputation for good time rock. Its been some year for Victory or Die, a band born in the Rainbow Bar and Grill under the statue of Lemmy with an idea to just play Rock and Roll the way the great man himself did, boy do they pull it off. Its loud its heavy its full of riffs, did I mention its LOUD. Kicking off with New Rock Revolution the Motorhead influence is immediate, you can just imagine Lemmy standing stage center belting this out. Next comes Hang the DJ, we can't be sure about the reasons behind Zoe Ball quitting her radio show but you never know :-). I Lose Control takes on a much heavier vibe live than the original single version. There is never any let up in the straight forward punching you in the face sound for the full twelve song set. We get the full repertoire tonight, Brian stands legs so far apart they are in different time zones, Andypaws oozing guitar hero sexiness, Jason and his voice of many talents and Carlos and his big “gong” which he bashes with fervor. Whilst there was a decent number in attendance it could have been more, this is where music is, small independent venues putting on real bands, we simply must get out and support them or where do we go? Lets make 2026 the year of Keeping Rock Alive, get out and attend the shows, buy the merch and keep these guys making excellent music.

‘Get Out Of The Rain’ is the second album by This House We Built. It’s the follow up to their 2022 self-titled debut. The Scarborough rockers sound has evolved on the self-released ‘Get Out Of The Rain,’ which was partially crowd funded. The album retains their classic rock sound while bringing in fresh elements that firmly place the album as a twenty-first century rock record. Musically the album finds the band building on the solid hard rock of their debut album while adding in funk, hard driving metal and arena rock elements. Scott Wardell works his vocal range from sweetly melodic to snarling rocker never losing a drop of power or emotion along the way. He’s ably supported by fellow guitarist Andy Jackson who takes the lead vocals on “Broken Dreams” and “One by One.” The pair also dovetail beautifully on the guitar work grounding the album in catchy hooks in amongst the driving riffs they deliver. The bass register packs a solid punch giving Chris Mayes drums a thunderous boom and highlighting Wayne Dowkes-White nimble bass playing. There’s a wider diversity in the songs on Get Out Of The Rain with life, love and everyday issues tackled in the lyrics. Stand out tracks include “Better Man,” where the protagonist seeks to grow as a person and be more present for their loved ones. “Drifter” tackles the self-doubt that plagues us all and times. Love is in the air on “One by One,” which delivers a poignant and empathetic love song, while opening track “Rain” is both hopeful and cautious at the same time. Then there’s “Desires,” a track that sets its sights on how we can face up to our problems with positivity and strive to come through them to a better place. There’s still no nonsense balls to wall classic rock too. "It's Only Rock 'N' Roll" is a party in three minutes and forty-five seconds, there’s even some cowbell in there if I’m not mistaken! The song is all glam riffs, stomps and a sing-along chorus that take you right back to the heyday of hair metal on LA’s Sunset strip circa 1984. It’s not a cover of the Stones classic, only sharing a title with it, although opening salvo of the stones chorus is referenced in the song, albeit with an extra word that the Stones definitely didn’t use! On the production side Dave Boothroyd has done an excellent job. The sound is crisp with cleanly defined vocals and instruments. With its hummable melodies, ear worm choruses ‘Get Out Of The Rain’ sees This House We Built deliver one of the best albums of 2025. If you’re into Those Damned Crows, These Wicked Rivers, Massive Wagons, Black Spiders or Sisters Doll you’ll find something to love about ‘Get Out Of The Rain.’ It’s a perfect embodiment of all that’s good on the UK rock scene as well as how far the band have come in the three years since their debut. Settle in and enjoy some top notch rock anthems that are going to sound immense when the band plays them live.

A five-strong Rockfiend team attended Scotland’s premier music festival again this year and these are our collective thoughts on proceedings, covering most, but not quite all, of the bands on show. Day One: Thursday 27th November Welsh rockers Scarlet Rebels were an inspired choice to open for another year. If you want to attract an audience on a Thursday for a 5PM start then this is the band for you. They played to a sizeable crowd that continued to grow as their energetic feel-good set went on. The band have built up a following in the traditional way, with regular gigs and album releases of increasing quality and their crossover appeal straddles old-school rock with a cooler, sexier indie-vibe. They are no strangers to Winterstorm, and apparently even turned up at an after-show house party with one group of fans the last time they were here. Feelgood music like ‘Streets of Fire’ hits the spot and there is a new album on the way soon. The honour of opening the Sessions Stage fell to a very young East Ayrshire band called Angel Eyes, whose members are only 15 and 16 years-old. It all looked a bit ‘School of Rock’ but the young folks gave a good account of themselves. Their natural fit seems to be more indie-rock rather than the core 1980s metal demographic of the regular Winterstormers, but a fair few seemed to enjoy the performance, and not just the proud mums and dads that were filming the show. The young singer and drummer were the only females performing on the Thursday on what was otherwise a total sausage-fest, but the ladies acquitted themselves well, particularly the vocalist, who showed a lot of promise. Cleverly, they also signposted their intention to close the set with a cover of Crue’s ‘Kickstart my Heart’ and that shrewd marketing encouraged a good crowd to stay until the end. At such a young age, it would be daunting for most people to appear in front of a seasoned (meaning old!) Winterstorm rock crowd but the local band seemed unfazed and took the occasion in their stride. The legends of rock won’t be around forever, meaning it’s vital to support the next generation from the outset. So, keep an eye on this band as they develop over the next year or so and attend some of their shows to help get them to the next level. It’s the least that us old rockers can do! Vision Divine were a bit of a wild card, and likely a new name to most in the crowd, but they turned out to be another very fine undiscovered continental gem. With over 20 years of material to choose from, the Italian prog-metal maestros were able to put on a very fine show indeed. Former Whitesnake man Michele Luppi was back on vocals and he delivered like a more restrained Glenn Hughes and his lineage as a Coverdale sidekick added legitimacy to a closing cover of ‘Still of the Night, which went down a storm. Allegedly, hard funk band High Fade are from Edinburgh but I believe they spend a lot of their time in America where they are building a following. As a live act, they are a compelling proposition and managed to get even the most decrepit of audience members moving and grooving. Highlights included ‘Burnt Toast and Coffee’ and ‘Fur Coat’, which, if they really were from Edinburgh, would surely be called ‘Fur Coat (Nae Knickers)’? The band are first class musicians with singer/guitarist Harry Valentino a born entertainer whilst 70s porno-haired bassist Oliver Sentence and drummer Calvin Davidson were possibly the tightest rhythm section of the whole weekend. It didn’t take long for the Winterstorm audience to be rocking, bopping and swinging along with arms moving “to the left, to the middle, to the right”. High Fade are very much a live band, with the full experience best enjoyed on a stage, up close and personal. If you want to see them again or if this review has piqued your interest, catch them on their UK Tour, including a date at QMU in Glasgow, this December. Scottish blues-rock heroes Bison Hip drew an inquisitive and appreciative crowd upstairs to the wee stage. The guys in the band are all really experienced and highly competent players and with recent releases they’ve added a clutch of relatable and reliable bangers with long titles like ‘Everything That Came Before was Just Leading Up to This’ and ‘Why Should I Cry If You Left Me?’, plus latest single ‘Chemicals’. The next change of pace was veteran skate-punk legends Ugly Kid Joe. Whitfield Crane probably could have been a Seattle psychiatrist like his separated-at-birth-brothers Niles and Frasier, but instead he used his position as the singer in the band to dispense wisdom and experience to the good people of Scotland like a rad Yoda in a backwards cap. You can’t go wrong with instantly recognisable songs like ‘Cats in the Cradle’ and especially ‘Everything About You’, which was a knockabout classic at the end of their set. The former’s closing verse lyrics “as I hung up the phone it occurred to me, he’d grown up just like me… my boy was just like me” always causes Rockfiend’s Gareth to have a lump in his throat, mainly because he’s now getting old and as a father to two boys racing towards twenty and mid-teens, he can now fully relate to the words more than he could in 1992! That brought a really exceptional evening’s entertainment to a close and set the table for the rest of the weekend. Of the six bands we have covered here, none of them could truly be described as traditional 1980s-style UK hard rock and the festival’s opening day was all the better for it. Winterstorm should be applauded for their talent-spotting ability and creativity in bringing such an excellent, varied and entertaining line-up together. Day Two: Friday 28th November I always think of This House We Built as a “Wildfire” band, as that is where I first encountered them, and they are firm favourites at Scotland’s premier summer festival. The northern lads turned up early to get things going, and so did Smalltown Audio, who take care of the sound for the main stage and did a brilliant job all weekend. THWB have just released a new album ‘Get Out of the Rain’ and there are some very good songs on there that have been added to a nicely well-rounded set. A very likeable band, they put on a great show and should not to be underestimated. Another local act opened the Sessions stage. Annastaisyar (it is pronounced ‘Anna-stay-as-you-are’ not ‘Anastasia’) is a powerful vocalist with an experienced band and she delivered a strong set of self-penned numbers, most notably the harrowing ‘Evil Fireman’, which apparently tells the story of how Anna came to be a wheelchair-user. Rockfiend favourites Collateral have an excellent live reputation, although I suspect they are a band best enjoyed when shit-faced at a later hour than they performed at on Friday afternoon. They pulled out all the stops though, including singer Angelo Tristan bounding onto the stage wearing a kilt… albeit a wee lassie’s kilt worn back-to-front. Nice legs though, and not even a shame about the boat race! Nevertheless, it was a rousing performance of melody-filled hard rock by the Kent four-piece who showcased tracks from their self-titled debut and follow-up ‘Should’ve Known Better’. They finished with the strip club classic ‘Mr Big Shot’ which also included a first appearance from ‘The Lost Girls’ dance troupe from Nottingham. Still miss wee Todd though. Scottish band Eld Varg are influenced by Viking goat-shagger bands like Grand Magus and their very heavy performance up-the-stairs even provoked a bit of seated rowing action in the crowd, the likes of which I had not seen since ‘Oops-upside your head’ was in the charts. Eld Varg have a very strong image and great artwork, particularly with their new album ‘Destroyer’ which was only released a week or so before the gig, and they sold a lot of copies of that and their other fine merchandise after their show. There really must be something in Welsh water, judging by the number of brilliant bands coming out of the country. Powell/Payne can now be added to that ever-growing list of bands. With a crystal- clear sound and a set of brilliant AOR/melodic hard rock gems, the band will have won a lot of new fans with a top-notch performance. Named after drummer Mark Powell and vocalist Mark Payne (“He’s the Powell. I’m the Payne”), the band is signed to Frontiers Records, but were at “Paynes” (see what I did there!) to point out that they weren’t a “project” put together by the prolific (but often samey!) Italian label. The general consensus was that their music came over better with some additional live “oomph” than it did on record. With a few high-profile support slots under their belts, we should be able to see more of these guys in the future. After the collapse of Hardline’s UK trip, it was great that these guys stepped in to keep the melodic rock flag flying after fine sets in previous years by H.E.A.T and Eclipse, and hopefully the promoters have got something soft and fluffy lined up for next year too? Fangslinger were a marvellous surprise and an unexpected pleasure. The self-styled ‘undead outlaws’ bring a bit of theatre to their southern gothic grungey music with a bit of a sexy vampire twist. FangSlinger is the male vocalist and has the lost boy beefcake charm of Jason Stackhouse out of TV’s True Blood, and the female lead is BloodRose – a beguiling femme-fatale figure. Together they rock up a storm and create a very cool vibe that makes you wish you were sinking your teeth into something good in Bon Temps, Louisiana. They finished up with a cover ‘You Give Love a Bad Name’ but if you’re going to shoot them through the heart, it had better be with silver bullets. These Wicked Rivers had the most elaborate stage set of the weekend, with vintage rugs, lamps and what looked like a globe-shaped drinks cabinet complementing their hairy and swampy look. But there was nothing swampy about their performance, with music steeped in classic hard rock but with a very bluesy, Southern Rock tinge. Lead guitarist Arran Day (was he aware that the Isle of Arran was visible outside, right behind the stage?) kicked and spun throughout the set, resplendent in a maroon suit, whilst vocalist/guitarist John Hartwell’s road-worn voice is perfect for their style of music. We wouldn’t want to blow blackberry smoke up your ass, but these Brits do a very fine southern rock show, right down to the epic last song ‘Don’t Pray for Me’ with its twin-neck guitar freakout. Very impressive. The Skids brought a bit of punk energy and Richard Jobson was very lively; jumping around in a football top, just like his brother, the Meadowbank Thistle legend John Jobson used to do on the grassy stage. In a set full of highlights, ‘Into the Valley’ is still a shining jewel, even if High Valleyfield isn’t. The first sign that Wytch Hazel had arrived in Troon was a gentleman fan walking around the venue in a rather unusual outfit that included long boots and a white cape. They’re a band with a passionate fanbase that really digs their unusual blend of medieval, pagan-like music with 70s hard rock and a tinge of early heavy metal. It was quite trippy and mystical at times, but there’s no doubt that the band’s appearance is a unique selling point. It simply wouldn’t have been the same if the white spandex, smocks and boots had been replaced by jeans and a t-shirt and the goblet by a bottle of beer. They’re unusual and talented and clearly not afraid of sharting… and in music, it’s good to stick out from the crowd. That’s why their fanbase continues to grow. Now, where’s that mead? So far, so eclectic and Sweet Electric brought yet another dimension to an astonishingly diverse Friday line-up. It’s hard to tell if they are a spoof or if they’re just a hard-rocking party band, and they also had some assistance from The Lost Girls to liven up their already adrenaline-fuelled set. Ostensibly a German band, they are fronted by demented wee Australian Brad Marr out of Massive and he was an even-more-larger-than-life presence in this guise and the Sessions Stage almost wasn’t big enough to contain them. 1970s rockers Sweet haven’t played in Ayrshire since a reportedly turbulent evening in Kilmarnock in 1973, when they were bottled off the stage at the town’s Grand Hall. It has always been a bit of a local myth that this chaotic concert led to the writing of the band’s well-known hit ’The Ballroom Blitz’. This was pretty much confirmed by founding member and guitarist, the legendary Andy Scott, the man with the greatest fringe in rock and it seemed like some folks in the audience tonight might even have been there that night – in fact, some of the crowd looked like they might have been outside waiting to collect their kids in 1973. Starting with ‘Action’ (famously covered by Def Leppard), Sweet performed a set made up of genuine rock classics such as ‘Hellraiser’, ’Teenage Rampage’ and Christmas party favourite ‘Wig Wam Bam’. Scott didn’t seem overly happy at the lighting (or lack of it), stating that he couldn’t see his guitar (“I’m a 76-year-old man”), so it was perhaps the brightest lit Winterstorm performance… ever! Good news for photographers. The really good stuff was left for the end of the set, with ‘Love is Like Oxygen’ making way for a final trio of ‘Fox on the Run’, ‘Blockbuster’ and the aforementioned ’The Ballroom Blitz’. People of a certain vintage danced, grooved and sang along to songs that were the soundtrack of their 1970s youth, whilst others who were slightly younger and less familiar with the band, looked like they just didn’t have a clue what to do! For one Rockfiend scribe, this gig seemed to complete a 70s glam rock tick list of bands seen that now includes Sweet, Slade, Suzi Quatro, Gary Glitter and The Bay City Rollers. Is anyone from Mud still alive? The final act of the night had attracted so much fan attention that the traditional ‘After-show’ set was moved downstairs. That allowed Saffron Gorman (“the Ulster Doro”) the honour of closing things off up the stairs with her Black Eagle Band – something she did with great authority. That left Guitar Heads, featuring affable friend of Winterstorm Jim Kirkpatrick (now known as “the keyboard player from The Sweet”) and Paul Rose on guitars, plus several equally adept friends, to entertain with a spirited set of carefully curated covers, of which ‘Hocus Pocus’ really stood out, in a highly entertaining and appreciated finale. According to several observers, this really was one of the finest, most balanced and varied one-day line-ups in Winterstorm history. With just the two overtly “heritage” bands, there was plenty of space for excellent acts covering pretty much every genre and a nice blend between the handful of returnees and some especially pleasing newcomers, with some delightful and unexpected surprises thrown in. Here’s hoping for more of the same in the future. Day Three: Saturday 29th November 2025 Winterstorm has always acknowledged its inspiration in the “Spirit of 1980”, when Ayrshire was a semi-regular stop on the NWOBHM circuit. On this Saturday, with a handful of exceptions, the whole day was largely mono-focused on hard rock and metal from that era. Indeed, with the obvious sad exception of Ozzy’s ‘Back to the Beginning’ this Summer, it is unusual to see an entire day at a festival dominated to such an extent by the presence of one man – Steve Harris. Clearly, there has been no more significant figure in metal over the last 45 years than Steve, and the great man embodies the “Spirit of ‘80” more than anyone else too, so it seems entirely appropriate that we were treated to a performance by him as a member of British Lion, plus at least five other friends, family and Harris-adjacent acts throughout the day. Surprisingly, we know that Sir Steve Harris has read Rockfiend at least once. Our very positive review of a British Lion show in Edinburgh on a cold November night last year made reference to the fact that he “could have been at home in The Bahamas in his speedos” and he actually referenced this in an exclusive interview with Classic Rock in their Iron Maiden special this year and said it had made him laugh! Happy days. Bless ‘im – he is a proper legend and a gift that just keeps on giving. Somehow, it has always mystified some people that Harris chooses to go from playing arenas, stadiums and world-famous festivals in front of massive crowds with his day job to playing much smaller stages with British Lion, but the reasons are simple; he loves it, and he can get closer to the crowd with British Lion, similar to the early days of Iron Maiden. From the outset, it was clear that British Lion is so much more than just a side project for Harris, as he bounded energetically onto the main stage, foot on monitor, singing every word to his adoring crowd (although he isn't even the singer!). There wasn’t an inch of the stage that Harris didn’t cover and it’s fair to say that he may be the most photographed artist ever to grace the Winterstorm stage. Musically, British Lion gives Harris the opportunity to play shorter, more hard rock-oriented songs than he does with Iron Maiden and these songs easily stand up on their own, with ’This is My God’ and ‘Land of the Perfect People’, all with prominent bass lines (of course), ably highlighting the talent within the band. Unquestionably, Steve is the biggest individual to ever play Winterstorm, and no doubt, he’ll have secured his own curtain that will take pride of place next to Michael Schenker and other famous Winterstorm alumni at future festivals. A few totally star-struck, fully-grown fans relished their opportunity to be within touching distance of the hem of his garments and his mere presence made a lot of people’s days. I mean… Steve Harris… in Troon! Before all that, a band entirely unconnected to 1980 or Steve Harris started us off. To open a festival on the third and final day can easily cause a bit of trepidation: wondering who’s coming along at 1pm after the two nights before, and hoping that folks haven’t peaked too early with the variety of brews on offer over the weekend (more cider please). The lads in Victory or Die needn’t have worried, and an already swelling hall was in good spirits when the intro tape of much-loved Tartan Army anthem ‘We’ll Be Coming’ blared out across the hall. I’m sure we will all be hearing that tune for many months to come and the Americans will also love it in the summer. With captain and national treasure Jason Sweeney leading his VoD 4-a-side onto the hallowed “turf” of the Troon Concert Hall, if there was ever a band prescribed to cure a hangover, VD would be the natural Alka-Seltzer and a good bit tastier. For the next 40 minutes, they delivered a no-nonsense salutation to British rock, opening with the killer ‘New Rock Revolution’ which very much set the tone and pace for what was to come, while ‘Hang the DJ’ and ‘House of Love’ epitomized the raw, fiery, gut-punching Rock & Roll. Mixing the tradition of the NWOBHM scene and a heavy slice of melodious charm, Demon were duly summoned for a classic romp through some of their back catalogue. ‘Night of the Demon’ kicked off proceedings at the ungodly hour of 14:20, complete with some 80’s customised and choreographed synchronised guitar moves. Although never one of the A-list names in the genre, before long, the Maiden-centric crowd began to realise that Demon had something to offer; with driving riffs, a romping rhythm section and the soaring vocals of singer Dave Hill (not that one) delivering a through-the-ages gallop of highly charged mini epics like ‘Sign of a Madman’ and ‘The Plague’. Although a large part of the set was written over forty years ago, the songs are still very much relevant in today’s equally messed up world and slot in alongside ‘Face the Music’ from 2024 with ease. After that, there was some highly-original multi-media sounds from Tony Moore’s Awake; a set focused on not just his own work, but also Bernie Torme, Gary Moore and Rory Gallagher by Pat McManus; and a set of well-loved Magnum covers by Kingdom of Madness, who ironically contain more “real” Magnum members than the current Magnum do; and a set from pre-Maiden Harris-connected band Gypsy’s Kiss. The Raven Age, for the moment, include George Harris (son of Steve) and Winterstorm alumni Tommy Gentry, who previously played at the festival with Gun. It was an emotional show for the band on the main stage, as it was one of the final performances by Harris, who is moving on as a result of illness. Their music is heavy and dark, with an almost spooky, shock-metal tinge to it and possibly mostly aimed at a younger and cooler demographic than that lined up before them in front of the stage. They were worried that they might “go down like a fart in a lift”, but they had nothing to worry about - it was a fantastic set, and like South of Salem at a previous Winterstorm, one that will have won them some new fans in Troon. Released in February of that year, the ‘Metal for Muthas’ compilation album is almost the epitome of ‘the Spirit of 1980’. The two Maiden tracks are the obvious highlights but ‘Baphomet’ by Angel Witch was another standout. The band Baphomet performed on the Sessions Stage in honour of the sadly-recently-deceased Kev Riddles, who played in both Angel Witch and Tytan. A rousing set of songs from the Angel Witch back catalogue went down very well. I particularly enjoyed singing along to the self-titled classic ‘Angel Witch’ with a couple of old friends from back-in-the-day, one of whom had recently acquired a mint copy of ‘The Soundhouse Tapes’ - the other sacred scroll of NWOBHM – and the other who hoovered up much of the band’s remaining merchandise following their final-ever appearance. Following British Lion’s Main Stage set, Airforce took over upstairs and turned in a very fine performance indeed. Drummer Doug Sampson was an early Iron Maiden drummer and with Chop Pitman on a guitar with a heavy-duty bullet guitar strap, the band have some veteran prowess. The man who grabbed the attention though, was a handsome and charismatic Portuguese singer (I think called Lino) who captivated the ladies at the front with his metal-Clooney good looks and impressed the geezers at the back with his Dickinson-esque air raid siren vocal powers. Definitely the performance of the day on the wee stage. Closing the Main Stage were Praying Mantis – another Maiden-connected band from back in the day. They have been popular performers at Winterstorm on multiple occasions, but after a long day in a similar theme, it might have been one appearance too many for some tastes as the hall started to thin out a bit. There was nothing to fault in the band’s performance though. I got excited at one point as they announced “one we haven’t played for a while; Turn the…Tide”! I have been to every Mantis show at Winterstorm, like many, hoping to hear ‘Turn the Tables’ and ‘Cheated’, so it really felt like they were taking the piss there. To be honest, it always disappoints me when bands refuse to give their loyal customers the songs that they most want to hear for whatever reason, so I stomped off to the Harbour Bar in the huff. It would serve me right if they played it after I left. As themed-days go, this was a good one, if a little “heritage-focused”, and I do prefer the greater change of pace, age, era, style and performance that we enjoyed on the previous days. That said, the crowd were royally-entertained by Sir Steve Harris and friends on a day that will live long in the memory, and who ever thought they would see that in Troon? Happy days. See y’all next year.

There’s plenty of room to spare at the 1865 this evening, which is baffling given the strength of the lineup. Maybe it’s because it’s the middle of the week or money is a little tight, or perhaps these bands just need a little more exposure in the right places. Joking that some of the group travelled as far as 150 yards for their opening slot, Southampton’s own The Fever Dreams don’t waste the opportunity, treating us to a surprisingly diverse and engaging set. Though initially favouring foot-stomping hard rockers with the kind of no-nonsense riffs that AC/DC made into an art, ‘It’s Alright’ wanders into laid-back, almost countrified territory and highlights the impressive harmonies that spill over into a bouncy cover of ‘Take Your Mama’ (yes, the Scissor Sisters one!). ‘Blink of an Eye’ rushes along like a stream of consciousness, somewhat reminiscent of Tom Petty with its jangling guitars. A five-some seemingly bursting with ideas and rich with talent, The Fever Dreams deserve recognition beyond their home city. Fixing us with her intense, wide-eyed stare, Bobbie Dazzle makes her Southampton debut, heading up the glam rock revival we didn’t realise we needed. Fronting her aptly named ‘Dazzle Band’, the group has a strikingly retro aesthetic, flared trousers and flat caps in force, Dazzle herself rocking a snake print catsuit. Affectionately referring to her own music as “ridiculous but fun”, there’s truth to that, but it possibly undersells her knack for a catchy tune. If there’s a way to get ‘Flowers From Mars’ or ‘Back to the City’ out of your head, I’m yet to discover it. ‘Merry Go Round’ reinforces my view that the flute is a seriously under-utilised instrument in rock music and the doubling of the guitar riff with keyboard on ‘Lady On Fire’ is equally pleasing. Obscure ABBA cover ‘Watch Out’ blends in so seamlessly that you could be forgiven for mistaking it as one of Dazzle’s own if she kept quiet about its origin; The slinky guitar riff is heavier than you’d imagine, and the ‘ooo la la las’ are irresistibly upbeat. The set concludes with ‘Lightning Fantasy’, a song with lyrics that Dazzle uncovered after her father’s passing and ‘plagiarised’! A man apparently just as in love with glam rock as his daughter, you suspect he’d be very proud. As Dazzle herself puts it, “The lady’s on fire, let her inspire you”. In an age where iconic guitarists generally feel like a thing of the past, Jared James Nichols deserves to be regarded as the modern equivalent. A musclebound, mountain of a man who towers at more than 6 feet tall, his leonine locks and increasingly tattooed arms (he’s just had a new one backstage!) give him the look of someone who’d make great poster material and his command of the guitar is something to behold. Blessed with enviable charisma, flashing his bright smile freely, there’s an effortlessness to his playing, a sense that it’s all instinct. It’s the first night of the UK tour, and Nichols’ first time in Southampton as a headliner. And from the moment the wild squall of ‘Easy Come, Easy Go’ comes blazing through the amplifiers, it’s clear that he means business. His is a difficult sound to describe, undoubtedly rooted in the blues but, as Nichols himself so eloquently puts it, with “more bollocks”. Fronting a power trio (with emphasis on the power) completed by bassist Brian Weaver and drummer Ryan Rice, Nichols’ magnetic presence means that it’s almost easy to overlook the rhythm section. Of course, Jared doesn’t allow that to happen, frequently drawing our attention to their formidable prowess, and permitting them moments to shine, first during an extended ‘Threw Me To The Wolves’. There’s nothing flashy here in terms of presentation, no stage show or elaborate lights, and yet it’s still utterly compelling. Nichols notably favours a stripped back guitar set up - minimal pedals, and definitely no plectrums! Perhaps that’s how he’s able to tease delicate beauty from ‘Nails in the Coffin’ or deliver the wailing ‘Good Time Girl’ with such feeling. The latter sees him get up close with the front row, to the delight of all. ‘Honey Forgive Me’ is as close as the band get to funk, Weaver’s baseline grooving nicely throughout an expansive rendition that temporarily veers off into a fun selection of riffs, Nichols taking on everything from ‘Smoke on the Water’ to ‘Mary Had a Little Lamb’! ‘Baby Can You Feel It’ is a spirited throwback to Nichols’ blues beginnings, with an opportunity for audience participation, as we shout the chorus back at him. Latest single ‘Ghost’ is an absolute monster live, and sees Nichols edging ever closer to that killer song that the show builds towards. As it stands, the set concludes with a turbo-charged version of ‘War Pigs’, and though nobody is ever going to be disappointed by it, I can’t help but feel Nichols deserves a set closer all of his own. An unmatchable guitarist and a truly lovely guy, who takes the time to talk to everyone after the show, I’ve never known Jared James Nichols to disappoint. There’s still plenty of opportunities to catch him before he heads home to the USA. Check out the remaining tour dates here:

Straight away I have hair envy. All but the drummer sporting dreadlocks or in the case of Adam Woloszyn on Bass, a Viking cut. The performers were lined up across the stage, their postures leaning aggressively into the audience like a pack of predators eyeing their imminent prey. With raw energy, they began shouting commands, challenging the assembled masses to put their hands up or make some noise. Though the opening notes had only just begun to boom through the speakers, the atmosphere was already electric. judging by the roar, the majority of the crowd was definitely up for the challenge of matching the intensity of the group before them. Second song in, "are we having fun yet, who's wanting some chaos?" Getting the crowd to jump. They started "Chaos and Earthquakes" Despite the track not delivering the promised heaviness, which initially dampened the frenzied crowd participation, the energy on stage was utterly infectious. Guitarists Rasheed and Jayson, along with bassist Adam, acted as catalysts, a blur of motion as they jumped, spun, and headbanged across the stage. Seeing the band's relentless enthusiasm, the crowd finally began to stir. Just as the momentum built, frontman Elias leaned into the mic and roared for them to make some noise. In response, the audience erupted, shedding its earlier quiet with a deafening roar that pulsed from every corner of the venue. Elias has a clean voice, almost perfect. A recorded track couldn't have done better. He is such a great singer. Again "fist in the air" came the shout, Robbs drumming fast, furious makes sure this song "Dodge your destiny" hit hard, and so does the crowd. This is such an amazing display. They are the warm up band and the crowd are warmed into a frenzy. In the middle of the song, the music hums menacingly and Elias is scouting his prey once more. Getting the crowd to bounce like some sort of puppet master. If the set ended now then job done! The crowd is definitely warmed up! He shouts "We are Korn!...no we are not Fucking Korn! We are Nonpoint!" The performance continued to build momentum as Elias transitioned smoothly between Spanish and English, keeping the already enthusiastic crowd captivated. The atmosphere was undeniably electric, with the audience clearly enjoying every moment. Elias then started to sing a British classic that everyone could sing along to: Phil Collins' "In the Air Tonight." While the audience passionately screamed every lyric, anticipating the song's iconic moment, the rendition, unfortunately, fell short. It was a good effort, yet it ultimately lacked the famous, explosive drum impact that defines the original and that the crowd was eagerly waiting for that moment. The band delivered an electrifying set that navigated different musical energies. A standout moment was a song performed entirely in Spanish; its compelling rhythm and melody were so strong that the language barrier simply melted away. Following a brief, mellower interlude, they wisely finished their performance with a much heavier song "Bullet with a Name" ensuring the crowd's energy remained at a buzzing peak. This powerful finale solidified their sound as one that would appeal strongly to fans of Skindred and Korn, sitting comfortably between the two in terms of intensity and style. Overall, it was a great set and a perfect introduction for anyone unfamiliar with Nonpoint's compelling live presence. Excellent set. Elias Soriano vocals Robb Rivera drum Rasheed Thomas guitar Adam Woloszyn bass Jaysin Zeilstra guitar