Latest Rock News - Album & Live Reviews

Frontiers Music Srl is pleased to announce the return of the hard rock supergroup Iconic, featuring Michael Sweet (guitars), Joel Hoekstra (guitars), Marco Mendoza (bass), Tommy Aldridge (drums), and Nathan James (vocals), for their sophomore album “II”, scheduled for July 31, 2026. To celebrate the announcement, the band share the new single and accompanying lyric video, “Cry No More”, available now. Michael Sweet commented: “It’s been a long time coming and the time is finally here! It’s an absolute honor to be a part of such an incredible band and “Cry No More” is the perfect representation of who Iconic is. Music that takes you back to the best of times and reminds you that rock is still alive and well!” “It’s a pleasure to work with these fantastic musicians in Iconic. ‘Cry No More’ should give classic rock fans something raw and real in terms of both playing and production. Crank it up!”, Joel Hoekstra added. Nathan James also stated: “I'm so pleased to have made another album with these incredible musicians. I hope everyone enjoys this first single “Cry No More” and the whole album”. “Well, the time is here, folks, finally Iconic – “II” is coming to you, with the first single “Cry No More” coming soon!”, Marco Mendoza exclaimed. “Like always, it’s a blast and quite an honor to be part of a project like this, with all these players! Take a listen and enjoy! Viva la ROCK!!!”

Swedish sleaze metallers Smoking Snakes are excited to announce the release of their new studio album, “All Lights On”, out on July 10, 2026, via Frontiers Music Srl. Following the release of the single “Pleasure And Pain”, the band share today a new track, “Broken Heart”, along with an official video. The band commented: “Broken Heart” captures the fragile line between despair and rebirth. Through vivid imagery of darkness, desire, and destiny, the song reflects on the scars left behind by love... And the quiet strength it takes to start again. It’s both intimate and explosive, turning vulnerability into power”.

Slyder Smith, best known as the guitarist and backing vocalist for Last Great Dreamers, returns with *Killing the Machine*, a sharp, punk‑edged rocker that carries both swagger and a warning. Produced by Robin Wynn Evans, the track features Smith’s current band: Brian Kerr on guitar, Kevin Skelly on bass and backing vocals, and John McAvoy on drums. Together, they bring a raw, road‑tested chemistry that drives the song forward. The track opens in a low, almost intimate way. There’s just guitar and vocals, and then the full band kicks in. Now the tempo and volume rise. The production keeps everything raw and energetic, giving the song a gritty punk edge with a subtle hint of rootsy Americana underneath. Smith takes aim at our growing dependence on technology in our private and professional lives. He sings about his uneasy feeling that machines are competing with us rather than serving us. The song blends frustration with a very human anxiety. It captures the idea that we’re losing control click by click, swipe by swipe. It’s punk in attitude, but the Americana undertones give it a broader emotional depth. The result is an upbeat, hook driven track with something to say; a rallying cry wrapped in a rock ’n’ roll grin.

Caitlin Krisko has never been an artist content to stand still. From her Detroit roots to her long‑established home in Asheville, she has spent the past decade shaping and reshaping her sound, drawing from soul, R&B, blues rock, and Americana to build something of her own. Under the banner of The Broadcast, she carved out a place in the modern roots‑rock landscape, releasing ‘Dodge the Arrow’ in 2013 and earning opening slots for Grace Potter, Marcus King, and the Tedeschi Trucks Band. Lineup changes came and went, but Krisko’s voice; both her sound and her vision, held everything together. By the time the band released ‘From the Horizon’ in 2016 and ‘Lost My Sight’ in 2020, the project had already begun moving toward her distinct vision. The decision to become Caitlin Krisko and The Broadcast made that official. Their new EP, ‘Halfway There’, feels like they’re culminating that journey: confident, grounded, and assured. It’s also a new beginning, the sound of a band aware of its strengths and unafraid to lean into them. The title track, “Halfway There,” opens the EP with a sweeping blend of blues, southern soul, and rock. It’s a song that carries the weight of lived experience, written as a tribute to Krisko’s late mother and threaded with the small homilies and lessons passed down through their relationship. Krisko’s bluesy vocals sit at the centre, raw but controlled, while the band builds a warm, textured backdrop for her. As an opener, it sets the emotional and musical tone for the EP; heartfelt, grounded, and unafraid to show its rough edges. “Everything I Need” lifts both the pace and the mood. It’s a fast love song, bright and full of drive. Krisko’s voice cuts through the mix with genuine force. The track feels light on its feet; it’s a song that would hit hard on stage. William Seymour’s bass and Michael W. Davis’s drums lock into a steady, tight groove. Aaron Austin’s guitar adds small touches of colour but never gets in the way. The song shows how strong the band is when they lean into their rock‑soul sound. The quiet highlight of the EP is “Hello My Dear,” a gentle blues song with a soft, soulful feel and a hint of country guitar. Aaron Austin’s playing is warm and open, while the piano and rhythm section move with calm ease. Krisko’s voice is close and tender, as if she’s singing to someone who still feels near even when they’re gone. The band holds back and gives her space, letting the vocals lead the way. It’s a song made for slow Saturday nights or peaceful Sunday mornings. Among the EP’s louder rock tracks, “Hello My Dear” stands out as its most tender and moving heart. “Let It Ride” pushes the energy back up. It’s a hard‑hitting rock song that follows a woman working through the week to reach her goals, then taking her freedom when Saturday comes: “On Saturdays, she gonna let it ride.” Krisko delivers the line with both swagger and warmth. The band backs her with strong, no‑nonsense playing. The track shows how well they mix grit with an easy, open sound. It gives the EP a sharp burst of release while still keeping its emotional thread intact. The EP ends with “Heart of Gold,” a strong rocker that pulls everything together. It shows the band’s tight bond. Seymour’s bass is steady and tuneful. Davis’s drums hit with sharp, clean force. Austin’s guitar lines are bold but never too much. Across all five tracks, the playing is sharp and controlled. Each member stands out, but no one takes over. The song remains the focus rather than individual showmanship. Aaron Austin’s production also deserves praise. The sound is clear and full, but it retains the band’s rough edge. You can hear the space in the room and the feel of actual players working together. Austin’s production doesn’t smooth out the sound or make anything too clean. The mix lifts the emotion in the music and lets the performances speak for themselves. Each song on the EP highlights a unique aspect of the band’s sound. It feels like a small journey, with moments of softness and strength flowing together. Krisko invites the listener to hear her growth and to feel the sense of unity that shapes The Broadcast’s sound. Amid all the energy and emotion, the band’s skill at moving between styles stands out. Each song has its own feel, yet they all fit together as one story. The EP shows both the band’s power and its softer side, giving listeners a full picture of what Caitlin Krisko and The Broadcast can do. It also marks how far they’ve come, offering something strong and memorable for new fans and long‑time listeners alike.

Today, the acclaimed American hard rock band TESLA is proud to announce their new album, 'Homage,' set for release on July 17, 2026, via Frontiers Music Srl. Marking a full-circle moment in their storied career, the album finds the band returning to their roots with a collection of covers honoring some of rock’s most timeless hits. To offer fans a taste of what to expect on 'Homage,' TESLA shares their cover of Climax Blues Band's iconic track, "I Love You" (2026 Version). The new single arrives alongside an official video, available to view below. The band comments: "'I Love You,' like all the tracks on 'Homage,' not only pays tribute to legends but gives us a chance to showcase our lead singer’s diversity as well as the musical dynamics we learned as a band many years ago."

.GRAMMY® Award–nominated metal icons SEVENDUST have just announced their first UK headline tour in 8 years. Fresh off their arena support slot with Alter Bridge back in March, SEVENDUST will begin their route with 5 dates in Europe and 11 throughout the UK and Ireland, taking them through Norwich, Wolverhampton, Newcastle, Glasgow, Belfast, Dublin, Bristol, Southampton, Nottingham, and Manchester, before culminating in London. Renowned as one of the most powerful live bands in modern metal, the dates arrive as SEVENDUST are preparing to launch and support the release of their upcoming 15th studio album, "ONE", arriving 1st May via Napalm Records. The One Tour Dates: Wed 25th Nov - DE - HAMBURG, Gruenspan Thu 26th Nov - DE - COLOGNE, Kantine Fri 27th Nov - DE - MUNICH, Nachtwerk Sun 29th Nov - NL - TILBURG, O13 Mon 30th Nov - FR - PARIS, Bataclan Wed 2nd Dec - UK - NORWICH, Waterfront Thu 3rd Dec - UK - WOLVERHAMPTON, KK's Steel Mill Sun 6th Dec - UK - NEWCASTLE, Digital Mon 7th Dec - UK - GLASGOW, SWG3 Tue 8th Dec - NI - BELFAST, Limelight Wed 9th Dec - IE- DUBLIN, Academy Fri 11th Dec - UK - BRISTOL, Electric Sat 12th Dec - UK - SOUTHAMPTON, The 1865 Sun 13th Dec - UK - NOTTINGHAM, The Palais Mon 14th Dec - UK - MANCHESTER, Academy 2 Tue 15th Dec - UK - LONDON, Electric Ballroom Pre-sale tickets are available from Monday 13th April, with general on-sale tickets available Wednesday 15th April @ 10am (UK). For all upcoming tour dates, ticket information, and VIP packages, visit: https://sevendust.com/pages/tour. Building on their unmistakable sound while continuing to evolve, "ONE" proves why SEVENDUST remain a vital force nearly three decades into their career. From the driving opening riff of the title track 'One' to the dreamy, atmospheric vocal outro of 'Misdirection', the album takes listeners on an emotional journey that only SEVENDUST can deliver. Tracks such as 'One' and 'We Won' stand confidently alongside the band’s most iconic material, reinforcing their legacy while pushing their sound forward. The album’s first single, 'Is This The Real You', was released in January to both fan and critical acclaim. The video—directed by Paul Ribera—has amassed over 1.3 million views in less than six weeks, signalling strong anticipation for the band’s next chapter. Since then, they've shared official videos for 'Unbreakable' and the latest claymation masterpiece for 'Threshold'. Since forming in 1994, SEVENDUST have become a cornerstone of modern metal, known for their explosive live performances, chart-topping releases, and unwavering commitment to authenticity. With "ONE", the band continues to honor their roots while embracing growth—proving that their creative fire is as fierce and focused as ever. "ONE" arrives 1st May via Napalm Records and the album is available for pre-order in multiple configurations including digital downloads now.

Alternative rock quartet MARISA AND THE MOTHS are back on the scene with a brand new music video for the latest single 'Nothing's Getting Better'. Tackling the unbalanced seriousness of women's health issues in medical fields, including the lack of information and research funding for endometriosis, this track sees front-woman Marisa Rodriguez confront the topic with her powerhouse signature fry vocals. On the inspiration behind the new single and video, Marisa shares: "'Nothing’s Getting Better' is about having one of those days where everything feels like it’s falling apart and learning to laugh at the chaos while you’re still in the middle of it. The music video is a very literal take on ‘falling apart’, with a tongue-in-cheek gory vibe. I’m so excited about how it’s come together and can’t wait for everyone to see it. It’s also a strong statement of progression and a new direction for the band, which I’m really looking forward to exploring further. I wrote this song after coming back from yet another hospital appointment where I was trying to get the surgery I need for my endometriosis. It was another dead end, and I remember feeling completely defeated. At the same time, everything else in my life felt like it was collapsing in on itself - money worries, career and relationship struggles, and a recent diagnosis of ADHD, BPD and CPTSD that I was still trying to come to terms with. The song actually started out sounding really sad when I wrote it acoustically, but turning it into this upbeat emo anthem gave it a real sense of defiance - turning that pain into something powerful that other people can connect with.” Stream 'Nothing's Getting Better' HERE. Watch the music video for 'Nothing's Getting Better' HERE .

Are you ready for the battle to end all battles Presented by Westons Stowford Press, the METAL 2 THE MASSES grand finals start in Cyprus on April 19th and roll through 30 locations across England, Wales, Scotland, Northern Ireland, Channel Islands, Norway, as well as Cyprus! Every winner will perform a 30 minute slot on the Stowford Press New Blood Stage! Round up your mates and get along to your local night - help shape the line-up of the festival and support grassroots venues and bands. Dates and locations shake down as follows: April 19th – Cyprus – Savino Live, Larnaca May 8th – Belfast – Voodoo May 23rd – Leeds – The Belgrave May 23rd – Scotland – La Belle Angele, Edinburgh May 23rd – Sheffield – Corporation May 29th – South Coast – Bear Cave, Bournemouth May 30th – Northants – The Black Prince, Northampton June 6th – Manchester – Rebellion June 6th – East Anglia – Brickmakers, Norwich June 6th – Birmingham – The Flapper June 13th – Norway – The Tribute, Sandnes June 20th – North Wales – XS @ Penny Black, Wrexham June 20th – South Wales – Corn Exchange, Newport June 20th – Hitchin – Club 85 June 20th – Somerset – Cobblestones, Bridgwater June 20th – Newcastle – Trillians June 20th – Kent – Leo’s Red Lion, Gravesend June 26th – Channel Islands – The Pit @ St James, Guernsey June 26th – Cheltenham – Frog and Fiddle June 27th – Nottingham – Saltbox June 27th – Burnley – Sanctuary June 27th – Coventry – The Arches July 4th – Merseyside – Box Park & Arc:Hive, Liverpool July 4th – London – The Dome July 4th – Brighton – Daltons July 4th – Devon & Cornwall – Livewire, Saltash July 5th – Nuneaton – The Queens Hall July 11th – Oxford – The Jericho Tavern July 11th – Stoke – The Underground July 12th – Bristol – The Exchange No other festival does more to support grassroots metal and local venues across the UK and beyond. That commitment was recognised at the 2024 Heavy Music Awards, where BLOODSTOCK and the Metal 2 The Masses initiative were honoured with the prestigious “H Award” for exceptional contribution to the underground scene. You can get a flavour of what Metal 2 The Masses is all about here. In exciting news for all BLOODSTOCK’s M2TM winners this year, fellow sponsors ESP and Engl Amps are offering up 3 incredible prizes, to be chosen from amongst the M2TM victors performing at the festival and presented on Sunday evening. The prizes include a new-for-2026, EC400 Quilted Maple guitar in See Through Black, a Phoenix 204DX bass in Redburst, and a Ravager IR amp head with a matching 1x12 Cab! Got your tickets? Without further ado, let’s reveal a massive 24 more bands joining the heavy metal party this August! While you’re waiting for those M2TM finals to get underway and shape the majority of the New Blood stage line-up, BLOODSTOCK HQ has chosen a few other favourites from hundreds of cross-genre submissions to complete the bill. Stop by and discover your new favourite band! On Friday, you’ll be able to see death/doom devotees VOID BELOW, alt prog rock Londoners TEMPLES ON MARS, boisterous hardcore-metal alchemists NEGATIVE FRAME, and CONCRETE AGE, with their distinctive mix of ancient world music with extreme metal. Joining them on Saturday, are old school riff merchants THRASHERWOLF, N.Irish melo-death purveyors IMPERIAL DEMONIC, young aggressors CHAINED SAINT, and dark prog metal fiends IMBRIUM (featuring former members of Dreamcatcher, Memoreve and The Defiled). Not to be outdone, Sunday invites OVERPOWER, who forge together riffs of early influences like Metallica and Slayer, with the savagery of UKHC. BLOODSTOCK is also excited to reveal the full line-up for the new and improved EMP stage! Now situated in a new location in the main arena for less noise bleed, with a bigger stage and a bar, it’ll play host to more than a dozen up ‘n’ coming attention getters, so if you like to discover hot new music first, make sure you check out some bands here as well over the festival! Friday welcomes heavy rockers UNTAMED SILENCE, melodic punkcore beasts CHANGE PERSONA, metalcore headbangers AFTER SMOKE CLEARS, rock-metal hybrid SOULRIDE, and symphonic prog metallers VANITAS. Saturday offers occult doomsters GOAT MAJOR, modern classic rockers CANCEL THE TRANSMISSION, trad metalheads TEMPEST SAINT, power sludge duo TROLLMOTHER, and hardcore punkers DOSED. Rounding things off on Sunday are hardcore fans STITCHED, electro alt rockers WREX, modern metal squad FOLLOWING THE SIGNS, power trio THE CARTOON CARTEL, and dark alt crew AETHORIA. If these bands are new to you, you have 4 months to get to know them! To help you pass the time, BLOODSTOCK has also set up eleven special club nights around the U.K. where you can win BLOODSTOCK tickets to the day of your choice! For a riotous night out, put on your glad rags and run-don't-walk to the following: Sat 25th April - Camberley, Agincourt - Old Skool Rock and Metal Night Sat 25th April - York, Bluebox - Deadbolt Sat 25th April - Manchester, Rebellion - Deadbolt Sat 9th May - Bristol, Basement 45 - Apocalypse Fri 5th June - Guildford, All Bar One - Schism Sat 6th June - Brighton, Above - Apocalypse Sat 6th June - Birmingham, RedCorc Bar - Eddie’s Rock Club Sat 6th June - Nottingham, Rock City - Alpha Omega Sat 11th July - Isle of Wight, Strings - Apocalypse Sat 25th July - Southampton, Sobar - Apocalypse Fri 31st July - London, Elektrowerkz - Voodoo

Looking for something to lift the mood while the world gets madder, scarier, more depressing and surreal by the day? Then this slice of power pop heaven may be just what you didn’t know you needed. At 28 minutes long the album is shorter than many a guitar solo, Prog intro or indeed some of my track-by-track reviews (which you may be glad to read this isn’t). But if you’re going to release 10 songs on a sub-30 minute album this is how to do it. Short bursts of glorious power pop to the brain. Insanely memorable keyboard riffs which will have you Twisting, standing or seated (maybe that was just me, but I think not) in ‘NY UAP’; a massive ‘Living After Midnight’-style guttural, raw guitar riff in ‘High in the Underground’; the Bolan-esque ‘You Are the Jet’ (okay, let’s admit it - the glamtastic influence of the metal guru is felt throughout this album); and the closing communal sing-along of ‘When The Light Has Gone’. Not to mention sing-along choruses and melodies … always and everywhere. And produced by no less than Dave Draper and Little Steven this is nectar to the ears and sonically soars. ‘Uncommon Side Effects’ provides a glorious fusion of power pop and glam rock, and a shot of musical dopamine for the soul; as his third solo album, it also importantly firmly establishes Marc Valentine as an artist in his own right and who deserves to be much more widely known as such, rather than just as an erstwhile Last Great Dreamer - another much-loved band with huge promise for whom the breaks sadly didn’t happen. Ladies, gentlemen and non-binary friends, I give you Marc Valentine. No other explanation required. ‘Uncommon Side Effects’ is released on Wicked Cool Records and is available now on all of the usual platforms. GMcA

Rock icon JOHN CORABI is proud to announce his debut full-length solo album 'New Day,' due out on April 24, 2026 via Frontiers Music Srl. ‘New Day’ marks JOHN CORABI’s first full-length solo album of original material. Recorded in Nashville during the summer of 2025 and produced by multi-platinum songwriter and producer Marti Frederiksen (Aerosmith, Ozzy Osbourne, Buckcherry), the album fuses classic ’70s rock, soul, and blues influences into a sound that feels both timeless and deeply personal. The record features the previously released singles “Così Bella (So Beautiful)” (2021) and “Your Own Worst Enemy” (2022), now presented as part of a rich collection of tracks that spotlight his commanding vocals, heartfelt lyrics, and masterful songwriting. Throughout the album, CORABI is joined by Marti Frederiksen, who adds backing vocals, guitars, piano, and percussion; Evan Frederiksen on drums, bass, B3 organ, electric guitar, mandolin, and programming; Richard Fortus (Guns N’ Roses) on lead guitar; Paul Taylor (Winger, Steve Perry) contributing piano, organ, and clavinet, as well as Charlie Starr (Blackberry Smoke) offering guitar solos. Together, they create an organic, instrument-driven sound built on real performances, melodic interplay, and soulful energy. With a European tour planned for February/March 2026 and additional shows running through late spring and summer, CORABI is poised to bring this new music directly to fans, delivering both powerful live energy and genuine emotional resonance. More than just a solo debut, ‘New Day’ serves as CORABI’s personal testament to rock’s enduring spirit—an exploration of melody, soul, and authenticity, played with passion and conviction at every turn. JOHN shares: "I’m very excited for everybody to hear this new collection of songs! I wanted to put together an album of eclectic, organic songs that are reminiscent of the music I grew up listening to, and I truly believe the mission was accomplished! This is a 60’s-70’s sounding classic rock and roll record…Turn it up, and enjoy!!!" 'New Day' Track List: 1. New Day 2. That Memory 3. Faith, Hope And Love 4. When I Was Young 5. One More Shot 6. 1969 7. Laurel 8. Good To Be Back Here Again 9. Love That’ll Never Be 10. Cosi´ Bella 11. Your Own Worst Enemy 12. Everyday People

US rockers Generation Radio are excited to announce the release of their new studio album, “Take Two”, scheduled for April 24, 2026, via Frontiers Music Srl. Generation Radio return with “Take Two”, the eagerly awaited follow-up to their acclaimed debut, delivering another masterclass in AOR/West Coast rock infused with just the right touch of the Nashville sound. Produced by founding members Jay DeMarcus (Rascal Flatts) and Jason Scheff (former Chicago), the band features an all-star lineup: Steve Ferrone (Tom Petty & the Heartbreakers, Average White Band) joins on drums, replacing the formidable Deen Castronovo (who returned to Journey as full-time member), while Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) round out the powerhouse ensemble. DeMarcus said: “It was so much fun getting to make another record! We’ve been working on this one for a while and we can’t wait for everyone to hear what we’ve been up to. Once again, we have contributions from all band members. These guys are amazing and it’s a honor to make music with them, I believe this record is our best work yet.” Jason Scheff added: “Here we go! Take Two, round two. We had such a great reception on our first record we've been chomping at the bit to get this one finished and released. I'm extremely proud to show that we have a band that is still at the top of our game”. “In what other industry can you deliver as kids and be able to go back in and create the quality of what you've been recognized for? I truly believe this work stands up to any of the records we've ever made creating some of pop and country's biggest hits. I can't wait to see how the public reacts to this one!”, he continued. “Take Two” is rich with pristine harmonies, unforgettable hooks, and timeless songwriting -hallmarks of the genre delivered with class and authenticity. Tracks like the cinematic, harmony-laden “Montana Sky”, the hook-filled “The Melody”, and the emotionally charged ballad “Hate This Heart” showcase the band’s signature blend of melodic precision and heartfelt performance. Adding depth to the album’s appeal, Generation Radio also offers reimagined versions of timeless classics that shine in their live sets: Whitesnake’s “Here I Go Again”, Chicago’s “You’re The Inspiration”, Kenny Loggins’ “I’m Alright”, and a rock version of Rascal Flatts’ classic “These Days”. With “Take Two”, Generation Radio not only honours the legacy of AOR and West Coast rock -they elevate it, combining elite musicianship and genre-crossing influences into a record that’s as fresh as it is nostalgic. “Take Two” Tracklist: 1. Montana Sky 2. The Melody 3. These Days 4. Maybe Monday 5. Grass Is Greener 6. Love History 7. Last Night's Whiskey 8. Here I Go Again 9. You're The Inspiration 10. I'm Alright 11. For A Soldier 12. Hate This Heart Line Up: Jay DeMarcus Jason Scheff Chris Rodriguez Tom Yankton Steve Ferrone

Swedish rockers Degreed are thrilled to announce the release of their new studio album “Curtain Calls”, out on April 24, 2026, via Frontiers Music Srl. Talking about the new album, Eriksson stated: “This is truly one of the best albums we’ve ever made. Yes, it’s a cliche. Yes, a lot of bands say that about every new record they make. But I truly believe this is one of our best, if not THE best. I’ve never been as focused while making an album as I’ve been on this one”. With “Curtain Calls”, Degreed deliver one of the strongest and most focused albums of their career. The band stays fully true to its established sound while refining it with precision: a powerful, contemporary production, technically solid performances, and - most importantly - an outstanding sense of melody and accessibility. Produced by Mats Eriksson, the album strikes an excellent balance between technical craftsmanship and immediate listener appeal. The songs are energetic and polished, yet always approachable, showcasing a confident songwriting style that blends modern punch with classic melodic hard rock sensibilities. “Curtain Calls” positions itself as a very competitive release within the current melodic hard rock landscape: consistent, well-produced, and strongly audience-oriented, while fully preserving the band’s identity. Degreed have been releasing critically acclaimed music since the start of their career with their first album “Life, Love, Loss” in 2010. Over the course of their career, the band has gone from strength to strength with every release, touring and gaining fans all over the world. Their sound mixes classic melodic and hard rock sounds with more contemporary influences, offering the fans a very personal, fresh and exciting mix of great rock music. Due to the COVID-19 pandemic, the band wasn’t able to tour on the heels of the release of the album “Lost Generation” in 2019. The band released the song “The World We Knew”, their musical summation of the year 2020 (the song became “Track of the Week” at Classic Rock Magazine’s website a week after its release) and then in 2021, Degreed began working on what would ultimately become “Are You Ready”, released in 2022. Degreed released “Public Address” in July 2023, followed by the EP “The Leftovers - Volume I”, in July 2025, diving deep into their vault of unreleased gems. “Curtain Calls” Tracklist: 1. One Helluva Ride 2. Holding On To Yesterday 3. Believe 4. Guiding Light 5. My Blood 6. Curtain Calls 7. The Rambler 8. Matter Of The Heart 9. Broken Dreams 10. Promise Me Line Up: Robin Eriksson - Bass/Vocals Mats Eriksson - Drums Mikael Blanc - Keyboards Daniel Johansson – Guitars

Swedish hard rock powerhouse Creye are pleased to announce that their new studio album, “IV Aftermath”, will be released on April 24, 2026, via Frontiers Music Srl. Creye return with renewed energy and ambition on their brand-new album “IV Aftermath”, a record that marks a bold new chapter in the band’s evolution. With the introduction of charismatic new frontman Simon Böös and a partially refreshed line-up, Creye prove once again why they are considered one of the brightest stars in today’s melodic hard rock scene, delivering songs with a distinctly modern edge crafted arrangement. The band stated: “IV Aftermath” pushes the legacy forward with purpose and determination - our most complete album yet, built on the same flame that started it all.” Formed in Sweden and quickly gaining international attention for their impeccable songwriting and classic yet forward-looking melodic sound, Creye built a solid reputation with their early releases, blending arena-ready choruses, top class production and unmistakable Scandinavian flair. Over the years, the band has steadily refined their identity, earning respect from fans and critics alike within the melodic rock community. At the core of Creye remains founding member and visionary Andreas Gullstrand, whose guitar work continues to define the band’s signature sound. On “IV Aftermath”, he is joined by Fredrik Joakimsson on rhythm guitars, Denny Karlsson on bass, and Vidar Savbrant on drums, forming a tight and powerful unit that delivers both finesse and impact. The arrival of Simon Böös on vocals adds a fresh dynamic, bringing passion, range that elevates the new material to even greater heights. With “IV Aftermath”, Creye not only honor the legacy of classic melodic hard rock, but also reshape it for a contemporary audience through modern songwriting and refined, sophisticated arrangements. The album stands as a clear statement: Creye are not just back - they are stronger than ever, firmly established as a leading force in the modern hard rock landscape. “IV Aftermath” Tracklist: 1. Something Missing 2. Bad Romance 3. Rust 4. Left in Silence 5. Don’t Talk About It 6. Through the Window 7. Only You 8. Glow 9. Aligned 10. The Last Night On Earth 11. Clay Line Up: Simon Böös - Vocals Andreas Gullstrand - Lead Guitar Fredrik Joakimsson - Rhythm Guitar Denny Karlsson - Bass Vidar Savbrant – Drums

Frontiers Music Srl is pleased to announce the signing of legendary melodic rock duo Nelson to the label’s roster. The band, lead by master songwriting twin brothers Matthew and Gunnar Nelson, will also appear at the upcoming Frontiers Rock Festival on Sunday, May 3, 2026, further strengthening their renewed partnership with the label. The band commented: “We’re honored to re-join the Frontiers family. Nelson’s now classic “Lightning Strikes Twice” was the first release for Frontiers in America when the label opened up their US office years ago- and as such, we’ve always felt like a valued part of the team. Nelson is and has always been truly unique - and our family at Frontiers has always valued that, as well as our exhaustive process to write, record, and produce world class albums that endure the test of time”. “We’re honored to reconnect with a roster that celebrates melodic rock music with such passion. We can’t wait to share what we’ve been working on and to deepen our connection with our fans around the world. Be warned: the new Nelson record is amazing”, they added. Mario de Riso, A&R and Business Affairs VP at Frontiers, added: “It is an absolute thrill to have Nelson back to the Frontiers roster. Matthew and Gunnar have a very special place in the history of melodic rock, and their talent, identity, and consistency as artists continue to shine. Their music represents the kind of quality, emotion, and craftsmanship we deeply believe in. We look forward to sharing this new music with their loyal fans and with a new generation of listeners.” Matthew and Gunnar Nelson have built a career that truly stands the test of time. Rising to global prominence in the early 1990s with Nelson’s multi-platinum debut “After The Rain”, the twins topped the Billboard Hot 100 with “(Can’t Live Without Your) Love And Affection”, earning a place in the Guinness Book of World Records. With seven Top 40 singles, five #1 MTV videos, over 6.5 million albums sold worldwide, Nelson became a defining force of their time. Deeply rooted in one of America’s most storied entertainment families, Matthew and Gunnar bring rare perspective to longevity in music. Their grandparents Ozzie and Harriet made television history with “The Adventures Of Ozzie And Harriet”, while Ozzie also pioneered early music-video concepts long before MTV. Their father, Rock & Roll Hall of Famer Ricky Nelson, sold over 200 million records and helped found the country rock genre. Carrying this legacy forward, the twins have consistently evolved and continue to connect with audiences across generations through authenticity, craftsmanship, and heart. Beyond music, Matthew and Gunnar Nelson have also become best-selling authors with their book “What Happened To Your Hair?”, adding another dimension to their creative journey. Today, Matthew and Gunnar Nelson continue to explore fresh creative territory, carrying forward their unmistakable melodic sensibility and soaring sibling harmonies. With a career defined by reinvention and longevity, Nelson remains a vital presence on the rock scene.

Sweden’s sleaze/metal stalwarts Confess have unveiled today the new single and official video, “The Warriors”, taken from their upcoming fourth studio album “Metalmorphosis”, set for release on May 15, 2026, via Frontiers Music Srl. The track features Will Wilde, a force to be reckoned with - a phenomenal harmonica player with a voice to match. His intense harmonica style steals the spotlight from the traditional blues rock guitar, with a sound that owes as much to Gary Moore as it does to Sonny Boy Williamson. Will won the HRH “Lords Of Blues” award in 2025 and is nominated for “Instrumentalist Of The Year”, “Contemporary Artist Of The Year” and “Album Of The Year” at the UK Blues Awards 2026. The band commented: “Our new track “The Warriors” is leaning more towards the sound of our first record. It has that dirty street sound, gritty attitude, aggressive guitar work, and fiercely driven vocals. Also, UK blues-rock powerhouse Will Wilde joined us on this one, pulling off a great solo on the harmonica.”

ROBIN BECK proudly shares her new single, "Let It Rain," taken from her upcoming eleventh studio album, 'Living Proof,' set for release on May 15, 2026, via Frontiers Music Srl. The new track arrives alongside an official visualizer, available to view below. On "Let It Rain," ROBIN comments" "No storm can break what’s unshakable inside." Watch the Official Visualizer for "Let It Rain" below. With ‘Living Proof,’ ROBIN BECK delivers one of the most confident, vibrant, and emotionally charged albums of her career — a powerful statement from an artist whose voice and presence continues to define melodic rock at the highest level. Bold, contemporary, and unmistakably timeless, ‘Living Proof’ stands as exactly what its title suggests: proof that true class, passion, and authenticity never fade. Anchored by the track “Never Gonna Let You Go,” the album blends soaring melodies, modern production, and classic AOR sensibility, capturing ROBIN at her most expressive and commanding. Songs like “Love and Money” and “Trouble or Nothing” showcase a perfect balance between polished hooks and emotional intensity, while tracks such as “What A Night” and “Karma” bring a vibrant, radio-ready edge without losing depth or substance. Throughout the album, BECK’s unmistakable voice — powerful yet nuanced, soulful yet razor-sharp — remains the focal point, supported by a carefully curated team of world-class musicians and songwriters. ‘Living Proof’ features contributions from James Christian (House of Lords), Tommy Denander (Radioactive), Peppy Castro (Balance), Steve Bondy, Emil Theilhelm, and Johan Kullberg, who collectively deliver a rich, cohesive musical landscape that moves effortlessly between melodic rock, modern AOR, and subtle pop-rock influences. We are ecstatic to announce that ROBIN BECK’s upcoming album, 'Living Proof,' will be ROBIN’s 11th studio album. It was produced by James Christian and co-produced by Peppy Castro. The legendary Chris Lord-Alge mixed “Living Proof” and also mixed and co-produced “What a Night.” Dennis Ward also played a key role, mixing the bulk of the album, making this record a true gem and a tour de force. Stay tuned! From the infectious energy of “Na Na” to the darker tones of “Voodoo” and “Don’t Tempt Me,” the standout "Never Gonna Let You Go," and the reflective closer “Let It Rain,” ‘Living Proof’ is a journey through strength, vulnerability, and resilience. ‘Living Proof’ is more than a new album — it is a celebration of artistic longevity, creative renewal, and fearless self-expression. ROBIN BECK sounds inspired, empowered, and utterly compelling, reaffirming her status as one of the most distinctive and enduring voices in melodic rock. About the new album, ROBIN comments: "This album is a mosaic of sound—each track a distinct piece, a portrait of my life." 'Living Proof' Track List: 1. Living Proof 2. Love and Money 3. Trouble or Nothing 4. What A Night 5. Karma 6. Never Gonna Let You Go 7. Na Na 8. Voodoo 9. Don't Tempt Me 10. Let It Rain ROBIN BECK Live: May 1st - Milan, Italy @ Frontiers Rock Fest July 24th - Vienna, Austria @ Forever Young - Das 80er Festival

If you are familiar with Tyketto (and if not, why not?!), new album ‘Closer to the Sun’ is everything that you want from these masters of melodic rock in 2026. Still utterly unmoved by trends, there is freedom in never being fashionable, manifesting itself in the memorable hooks and blissful vocal harmonies that won’t make it to the mainstream, but will bring smiles to those with a fondness for an age of rock supposedly long past. With a clatter of drums and Danny Vaughn’s exclamation of “oh, come on”, ‘Higher Than High’ springs into action, the bouncy riff lending a real sense of optimism to a song that is appropriately uplifting. A splash of harmonica gives a retro flavour, like Zeppelin briefly crashing the party (as if that could ever be a bad thing!), but really the sound remains closer to that of Journey or Foreigner, lifted from a time when rock ruled the radio. ‘Starts with a Feeling’ is even more of an 80s anthem for the modern connoisseur. Vaughn’s flawless vocals are at the heart, and the years have done nothing to diminish his power or emotive delivery. The inevitable key change at the crescendo might not be anything new, but there’s a reason it’s so enduring; some things never lose their magic. ‘Bad for Good’ is a grooving rocker anchored around Chris Childs’ persistent bass throb that concludes with some infectious “nah nah nah nahs” inviting you to sing along. It feels like a natural partner to ‘Hit Me Where It Hurts’, both proving that Tyketto can do attitude as convincingly as they can do emotion. ‘Dunnowhuddidis’ is something of a curveball, veering into bluesier territory with some clever, confusing rhythmic trickery from drummer Johnny Dee, but it’s ‘Harleys and Indians (Riders in the Sky)’ that comes as real surprise. Tribal, cyclical and hypnotic, it’s a bit of a departure, but one that brings a pleasing change of mood. ‘Far and Away’ serves a similar purpose in the latter half, albeit in a very different way. Where ‘Harleys’ feels raucous, ‘Far and Away’ is acoustic and pretty, the addition of violin only enhancing the beauty. In terms of natural singles, it’s easy to see why ‘We Rise’ was selected as one. Deceptively gentle at first but building to a killer chorus that makes you want to punch the air, it has the hallmarks of a future live staple. And Ged Rylands’ keyboard solo reinforces my view that most rock bands are enhanced by the addition of some keys! In terms of highlights, ‘We Rise’ is certainly up there, but the title track and epic power ballad ‘The Picture’ steal the show. The former is perfectly placed as the album’s centrepiece, the soaring chorus quite majestic; the latter is likely to leave your cheeks moistened with tears, as you lose yourself in lyrics that are relatable and achingly sad. ‘The Brave’ brings the album to a jubilant close, a celebration of those in our communities who are often overlooked but ultimately keep things functioning. Guitarist Harry Scott Elliott’s lovely solo is melodic and moving, the last of many great moments he contributes to a record that is consistently classy. And speaking of class, the a cappella finish definitely fits that description. ‘Closer to the Sun’ is an album that keeps inviting you back to bask in its warmth. Don’t miss the opportunity to hear these songs live when Tyketto tour the UK later this month.

Friday night was a night out in Glasgow. We met for a quick sharpener in the Drum and Monkey before heading along to Slay. Now, timing is, of course everything, and ours was tragic. Just as we left the pub, we were caught in a biblical hail shower and could do nothing else but jump into another pub for warmth and safety – it was, as Paul put it, ‘sore rain’. Despite being delayed a bit, we made it to Slay on time. It was to be an early start, 6:30 doors and the first band on just on an hour later. This was a double headline tour, so equal set lengths for both bands, all done and dusted in time for the young team to get in for the dancing later on. Friday was my first visit to this venue. It was a dark, square room which I felt was pretty perfect for any gig, but particularly well suited to tonight’s old school British RnB offering. The room was pretty full when Dr Feelgood arrived on stage. This is a band who have been around the block. None of the originals are still with the group, but bass man Phil Mitchell, drummer Kevin Morris and guitarist Gordon Russell all played in the band with original singer Lee Brilleaux, who passed away in 1994. That, I feel, gives them the legitimacy to carry the name and of course play the music that defined the growing British pub rock scene of the late 1970’s. This was no-frills rock and roll and I loved it. Singer, Robert Kane, pouts, points and prances round the stage making every inch of it his and he batters through the band’s hits. Most of them are there, ‘She Does it Right’, ‘You Don’t Love Me’ and ‘Roxette’ all get an outing, my own disappointment was ‘All Thought the City’ was missing. As Graham pointed out, the Feelgood’s back catalogue is pretty immense, and they only had just over an hour. In that hour they also managed to fit in a couple of new songs, yup you read that right, new songs, well, reasonably new. “Damn Right” was released in 2022 and driven by guitarist Gordon Russell. It was great to see the title track and a couple of other cuts make it onto tonight’s setlist. I’m one of those who think that new music keeps the scene healthy and, I love to hear these alongside the classics. I thought Dr Feelgood were on blistering form. There was very little chat and absolutely no room for a breather between songs. It was fantastic to see them. I’ve not seen Dr Feelgood for a good few years, I will certainly not be leaving it so long next time. After a quick turnaround, the second headline band of the night appeared. Nine Below Zero were on stage. This is a band I have seen regularly over the years and tonight I was delighted to see them in their stripped back, four-man, formation. Original members Dennis Greaves and Mark Feltham were joined by Dennis’s son, Sonny on drums and Anthony Harty on bass. They were a formidable combo. Clearly it was cold yet sunny on stage, Dennis was wrapped up in his cap, scarf and shades for the whole gig. Things started with a fantastic a mash up of Canned Heat’s ‘On the Road Again’ and the Stone’s standard ‘(I Can’t Get No) Satisfaction’. The next hour covered many of the NBZ bases. It was great to hear ‘Don’t Point Your Finger at the Guitar Man’ and ‘Ridin’ on the L and N’ along the way. Mark Feltham is, without question, one of the best harmonica players you will hear anywhere in the world, and I will defend that view till my dying breath. The wee debate amongst my amigos was ‘can you have too much of a good thing’? There is no rhythm guitar in this lineup, so, Mark plays harp during every song. Sometimes Paul and I felt that was a little too much, Graham, on the other hand, felt you could never be enough Mark. Wherever one fell on that debate, there could be no mistaking the talent and musicality on show. The set ended with the NBZ classic, Eleven Pus Eleven, always a toe tapper. Before the lights came up, the Dr Feelgood guys reappeared and the whole lot of them took us through the Bobby Troupe classic ‘(Get Your Kicks on) Route 66’. It was joyful singalong to end a most fantastic night. British RnB, pub rock, call it what you will, was a ground breaker in the 1970’s, it kept guitar music and rock and roll alive at a time it was under threat forms other forms of music – most of which I love! It remains great to see some of the first and second generations of that swing still keeping the music and us going 50+ years later. When we left the venue, the hail had stopped and the walk to the train station was a wee bit more dignified than the run to it on the way in. This was a great double header, a great night of toe tapping classics from a time when guitar music was king of Canvey.

It's the last weekend in March, so that means a car full of us are heading down the A1 to the seaside town of Scarborough for a couple days at the towns, now annual, punk festival. We arrived at the AirBnB, same one as last year and very nice it was too, a pint in the Albert, same pub as last year and still a good wee place, then off for dinner at the same Chinese restaurant as last year as well, it was also top. We got a taxi to the venue but we found ourselves held up. Of all things, there was an orange walk going though the town. For a moment I thought we were in the west of Scotland rather than Yorkshire. We picked up our wristbands from the fantastically professional organisers and crew who put these couple of days together and we were ready to go. Saturday took us to the festival, and much like the rest of the experience so far, nothing much had changed. The organisation at the venue was fantastic, the beer and food were both good and reasonably priced and the place was buzzing with many of the same faces from last year, including the ‘One Man Mosh Pit’ a giant of a lad who took the party to the front of the stage for pretty much every band. Something else that hadn’t changed much over the years is the lineup. This was our third trip to this festival and for at least 7 of the 16 bands performing over the weekend, they had been here twice or more out of the four years the event has run. There are two ways to look at that I guess, the first is to say, well, these bands are floor fillers and the people love them, which is true. The other way is to say, repetition leads to a bit of staleness. Numbers were down a wee bit this year, how much repeat acts factored into these punks’ decisions not to come, we will never know. We all went into the weekend with an open mind, ready to hear some of the music that really did define a generation, and many of those originals of that very generation, were gathered in Scarborough Spa. So, it all started with Yer Mum, a London, drum and bass guitar, two-some. I didn’t love the opening couple of numbers, which were followed by a rather lengthy sales pitch from the drummer, they could have got an extra song into that time and that might have generated a few more ‘likes’. After that though, things changed and they seemed to settle into their rhythm. They finished really strongly and left me wanting more. I’d go see them again. Next up was Crashed Out. This was Blaydon Races punk! Crashed Out bunch of Geordie lads, complete with a singer in a Brian Johnston style flat cap. I thought they grabbed their chance and delivered some no-nonsense, old-school punk. Some punk rock bands heavy on the punk, Crashed Out heavy on the rock and they sounded very good for that. Another band from the Northeast was, of course, the Angelic Upstarts. Clearly Crashed Out are fans; they gave up about half their set to play Upstarts classics. The crowd loved it. I loved it, but I’d liked to have heard more of Crashed Out’s own stuff, they had the chops to carry their set off with their own songs, absolutely no doubt. I like Riskee and the Ridicule, they played here last year and were a highlight for me then, and a band I was looking forward to seeing this time around. They did not disappoint. This is a band who, I think, are stretching the genre and could well be described as ‘punk rap’. The spoken worked making up chunks of their songs and their set, all with a bit of a political undertone. They are not new kids on the block, rather they have been around for a decade or more and, like so many young bands, perform for the love of the music, certainly not the money. I enjoyed them and look forward to seeing a full set in a hot, sweaty venue, just where I think they would excel. Hung Like Hanratty make their own return appearance next. There is no doubt the crowd love them; the place is packed. For me, they are a bit of a cabaret act, there is nothing wrong with that, it's one I generally enjoy. That said, a couple of songs need to be retired. Punk is about inclusivity, HLH miss that with one or two of their offerings, I feel that takes away from their overall fun. Since the line-up was announced, The Good, The Bad and The Zugly were a band I was looking forward to seeing. This performance was the first time they had performed ‘outside the European Union’ as they put it. Perhaps just a statement of fact, perhaps a wee nod to Brexit, who knows? It is punk, people are allowed to be a wee bit political. They had the tea-time slot and so the room was not as full as it might have been but that didn’t matter to Ivar Nikolaisen, he blasted on stage with the rest of this Norwegian five piece and they gave it their all. I really enjoyed them. Their energy topped the day, and it wasn’t long before the hall started to get a bit busier. This was solid performance from a band who put their all into their spot. I hope to see them again. Then along came Booze and Glory. I absolutely loved then! Their brand of Polish/East London Oi was absolutely infectious. I also thought they were the tightest band of the day. They filled their 50 minutes with street punk anthems that saw the room packed out. ‘Swinging Hammers’, ‘Only Fools Get Caught’ and ‘London Skinhead Crew’ got the joint jumping. These guys travel the world, I hope they come north of the Watford Gap sometime, it’d be great to see them in Scotland. I have always liked a bit of Ska, but I was also a wee bit surprised to see The Selector in the line-up. There is no doubt they are a great band, Pauline Black is a great entertainer, but for me they were not a great fit for this punk bill. I wonder if there had been one or two more two-tone additions, which might have brought more of a Ska crowd along too, this might have worked better for me. That said, others loved it. Our fellow Edinburgh travellers, Kevin and Kenny, thought it was fab, as did the packed hall that watched. That’s the thing about a festival, not everything works for everyone. The night finished with The Casualties. This was blistering New York street punk played with a no holds barred approach. I loved it and behind the yelled lyrics there was a band who really knew their stuff. The guitar work was fantastic; the bass blistering and Marc Eggars kept the beat with a violent regularity you hear in few other settings. There were a couple of cans kicked into the audience and singer, David Rodriguez jumped onto the floor to get a circle pit and a wall of death going. This was a show at breakneck speed. I loved it, the Casualties really brough in the spirit the Ramones, Rancid and GBH. It was a pity that by the time the Casualties were finishing there set so many had left the hall. And that was Day One over. I’d really enjoyed it. Day one was very much a patchwork of punk, there was a two piece, a bit of Oi, some comedy punk, a bit of rap, a touch of Ska and a whole heap of street punk aggression. That mix provided something for everyone, but that also meant there were bits of the day that chunks of the crowd were not drawn to. That said, every band drew a good crowd, but few packed the room. I think the mix worked overall, but it was a bit of a risky strategy. We got back home and Pete poured himself a cup of green tea. I did smile, my day bookended by an orange walk and a green tea. Sunday morning saw the clocks go forward. We went to grab a quick pint at the Albert, our wee Scarborough local. Pete was seduced by the excellent carvery, and he had a plate for his breakfast. Everyone, from the chef to the bar staff, the owner and any passing diner all remarked on how strange it was that he didn’t want gravy with it! All that meant we were a wee bit delayed in getting to the Spa. By the time we arrived Voodoo Radio had just taken the stage, and we went for a wee look. I am so pleased we did! They were the most fun band of the weekend. Voodoo Radio are a two piece – drum and guitar father and daughter combo. Dad, as he was known to his drummer and the audience, but is actually called Tony, plays guitar whilst his daughter Paige does the singing, drumming and most of the talking, all of which was hilarious. This was just a happy 50 minutes to start off Sunday. The music was good and the craic was mighty. “An absolute belter” as Big Al described it, they were too. Menace is an old school London punk outfit who trace their roots back to the summer of ’76 when so much of punk was starting to take shape. Of course, there have been lineup changes but singer Noel Martin has been there throughout; angry, political and ready to have a chomp at anything he is not too keen on. All characteristics I love in a band! Today I noticed it was Leigh Heggarty of Ruts DC fame on guitar, and he did a great job. It was a pleasure grabbing a quick chat with Leigh later. He was a last-minute replacement for regular guitarist Pete Bradshaw, who was under the weather. And it certainly was last minute; Leigh had invested two hours the previous day learning the set – and very well it went too. I really enjoyed this throwback to the early days of it all. I had never seen Chelsea before tonight, what a gap that has been in my punk gig history! They were without front man Gene who is putting health first just now. Instead, the rest of the band pitched in singing the songs. I thought it really worked too. The band looked great in their black and red shirts, their hair was spiked and the anger kept coming out. It was a great performance by a band with a big back catalogue and, clearly, a lot of depth. Remember it was only Pete who had the carvery, so we sacrificed Instigators for a fish supper. By all accounts they were as hard hitting as they were in the ‘80s. Just before 7 o’clock my highlight came along in the shape of Alvin Gibbs and, of course, the indomitable Charlie Harper. The UK Subs were in the house. Charlie is now 81 and walks, a bit of the time, with a stick. As he wandered on the stage the years just fell off him. The voice is no different now to what it was 30, 40 ,or indeed, 50 years ago. Charlie is one of punk’s great survivors. ‘Warhead’, ‘CID’ and ‘Riot’ all got an outing in this 50-minute set. I hope he’s got another 20 years left in the tank, it's always good to see a Sub’s show and tonight was no exception. Another great punk survivor is Animal and his Anti Nowhere League. They have appeared at this festival every year it has run. They are, certainly, floor fillers and the place was packed for them. As always, it's a tight set of venom and hate. People, the law and most certainly himself are all targets for Animals malice and the Scarborough faithful lapped it up in spades. Sham 69 brought the night, and indeed the festival, to a close. Jimmy Pursey wandered on with his eyes as black as a shark’s before bounding into 45 minutes of some fantastic bovver boot punk. All the hits were there, ‘Borstal Breakout’, ‘Angels with Dirty Faces’ and, of course ‘Hurry Up Harry’. Add into that the cover of the Clash’s ‘White Riot’ and there was no doubt the ‘Kids Were United’. Tonight was the best I’ve seen Sham 69 in a very long time and were a great way to end the weekend. Once again, Scarborough was a top few days. I always come away from these events a wee bit reflective. There is no doubt the scene is strong, there remains a strong following for both the music and this festival. It equally beyond doubt, that the scene is ageing. So many bands had a member or two who was unwell and we spoke to a few punks who were creaking at the seams a wee bit themselves too. I wonder how that leaves Scarborough. It's a festival I love; I wonder what the long-term plans of the organisers are. I feel, if it is to go on for many more years, then it needs to bring in more new bands with their own followings, this year there were two bands fewer than normal to meet the headliners costs. I also think it needs to raise its profile locally. We never met a taxi driver or pub owner who knew the festival was on. There is a big local market out there just waiting to be opened up. Alternatively, the future may be to keep the same bands and, by extension, the same punks coming back every year until it simply becomes financially unviable. Whatever their long-term plan is, the organisers, once again, did a great job of it all. The early bird tickets were released, but for the first time, we never grabbed them. We will hopefully be back, but this year we decided to wait to see the bill for 2027. The familiarity of all things ‘Scarborough’ is nice, but some new bands would be nice too. Till next time…