Latest Rock News - Album & Live Reviews

POWERWOLF are back – louder, more powerful and more epic than ever! On February 13, 2026, the German metal titans will release their brand-new live album, WILDLIVE, capturing the magic, energy and theatrical brilliance of their biggest headlining tour to date. Recorded during the breathtaking final show of their Wolfsnächte Tour 2024 in Munich’s Olympiahalle, WILDLIVE is not just a live album – it is a grandiose cinematic experience and a sacred celebration of metal, filled with fire, emotion, and boundless creativity. What began as an unconventional project in 2004 has since evolved into one of the most successful metal phenomena worldwide. WILDLIVE documents POWERWOLF’s unrelenting rise to the top, showcasing a performance that goes far beyond a metal concert. From a fire-breathing church organ and thunderous pyro spectacles to dark, operetta-like storytelling and rousing crowd interaction, this show is pure heavy metal theater at its finest. Each song is visually reimagined with a changing digital stage set, timed effects, and theatrical elements: monks with torches, falling snow on a burning piano, and a fiery execution scene that rivals shock rock’s greatest icons. Classics like "Army Of The Night", "Amen & Attack", "Armata Strigoi", and "Demons Are a Girl’s Best Friend" come alive in larger-than-life arrangements, while emotional highlights like "Alive or Undead" bring the audience to tears. The interplay between frontman Attila Dorn and organist Falk Maria Schlegel turns every moment into an unforgettable ritual. WILDLIVE is more than just a celebration of past triumphs – it marks the beginning of a powerful new chapter in POWERWOLF’s unstoppable journey. The Wolves have announced their return to the stage with shows across Europe, North America, and – for the very first time – London’s iconic Wembley Arena. WILDLIVE stands as both a monument to everything the band has accomplished and a fierce promise of what lies ahead. Whether you’ve witnessed their spectacle live or are discovering the Wolves for the first time: WILDLIVE is an absolute must-have for every music lover. It will be available in multiple formats including Blu-Ray, DVD, CD and Vinyl as well as a Deluxe Boxset, Earbook, Mediabook, and several other Collectors Editions, featuring exclusive bonus content. POWERWOLF have long transcended genre boundaries – their shows are cult-like celebrations of metal, emotion, and art. With WILDLIVE, they once again prove that what they create is beyond music – it is religion.

After an unforgettable debut last year, BLOODSTOCK’S WINTER GATHERING storms back this winter, bringing the spirit of the UK’s premier metal festival indoors once again for a full day of festive heaviness. Returning to take over KK’s Steelmill, Wolverhampton, on Saturday 5th December 2026, this one-day celebration promises towering riffs, intimate chaos, and all the community magic that BLOODSTOCK is known for. Just a 20-minute walk from Wolverhampton station, with all-day parking nearby for a couple of quid, KK’s Steelmill is easy to get to. Alongside a stacked lineup of crushing bands, there’s a range of food available to help you keep up your energy for 8 hours of solid headbanging, plus a fully stocked bar serving drinks throughout the event, with cash, card, and contactless all accepted. And because December is definitely coat weather, there’s a cloakroom available too - drop off your big coat and warm up in the pit! Doors will open at 2pm, with bands performing from 3pm – 11pm, ensuring wall-to-wall metal across two stages from start to finish. Headlining the main stage are Greek metal legends ROTTING CHRIST, whose ritualistic blend of black metal, gothic atmosphere, and commanding live presence has earned them acclaim across more than three decades. Joining them are Ukrainian blackened death metal outfit 1914, whose harrowing, World War I-themed sound delivers both sonic brutality and emotional weight. Leeds crossover thrashers PEST CONTROL bring razor-sharp riffs and ferocious energy, while vivacious slam extremists PARTY CANNON guarantee chaos, colour, and full-bore pit action. Self-proclaimed neoclassical fantasy pirates RED RUM offer up swashbuckling riffs and theatrical flair, but perhaps impeccable, classic doom purveyors WITCHSORROW will be more your thing? Kicking proceedings off in style, punk-infused eclectic progsters SQUARE WILD will open the stage. The second stage is headlined by UK thrash powerhouse SHRAPNEL, delivering precision aggression and modern bite. They are joined by doom/death heavyweights THE CRAWLING, epic metal storytellers MOON REAPER, and Staffs-based punk bruisers HEAD DENT. Also appearing on the second stage is a live Bloodstock Festival Management Q&A, giving fans a rare chance to hear directly from the team behind the festival and ask their burning questions. Beyond the music, WINTER GATHERING once again delivers the extras that made last year so special, including S’tanta’s Grotto, band signing sessions, giveaways, and the now-infamous snow machine making its frosty return. BLOODSTOCK and WINTER GATHERING co-director Vicky Hungerford comments, “Last year’s Winter Gathering was honestly such a blast — it reminded us exactly why Bloodstock began as an indoor event in the first place. The atmosphere was so intimate and felt just like those early days. We’ve got loads of fun things planned for 2026 and we’d love to see as many of you there as possible. It’s basically our Bloodstock Christmas party!” Tickets are on sale immediately, priced at £55 (+ booking fees) - grab them now For all the latest info, keep your eyes peeled on the official event website here.

Massive Wagons are set to shine a spotlight on men’s mental health, teaming up once again with Andy’s Man Club for their 2026 UK tour. Launching the partnership with a stripped-back campaign moment at their Sold-Out Warrington show in nothing but their Andy’s Man Club branded Oddballs boxer shorts. Using humour, openness, and visibility to support the charity’s vital work and encourage conversations around mental health across the UK. Andy’s Man Club representatives will be present at venues throughout the Everywhere We Go UK Tour, helping to tackle the stigma surrounding men, speaking openly about mental health. Chart-topping rockers Scarlet Rebels will also be joining Massive Wagons as main tour support. At all venues apart from Gloucester, with support for that show still to be announced. Andy’s Man Club will be embedded into the tour experience, with their facilitators on hand at shows to talk to fans, share information, and signpost local peer-to-peer support groups. The partnership aims to encourage men to open up, attend meetings, and seek support, addressing the sobering reality that suicide remains the single biggest killer of men under the age of 45 in the UK. Frontman Baz Mills explains why the band is committed to continuing the partnership “Super stoked to have the wonderful Andy’s Man Club back out on the road with us this April and May. The last time we toured with the guys it worked so well, we thought, why not keep doing what works! It’s a no-brainer really. Mental health isn’t something that gets fixed overnight like a bug in a system. It’s an ongoing fight to help men and people, navigate the punishing challenges surrounding mental health. Any opportunity we get to expose our fanbase, or new people, to the realities of men’s mental health, we’ll grab with both hands. We recently caught up with Luke from AMC, and he filled us in on the successes of the tour we did together last year. He said they saw a few hundred new men attending meetings off the back of the shows, several have gone on to become facilitators, and one has even opened their own club, just amazing! Getting the message out there and smashing the stigma around talking about mental health is the main goal, and the longer we can be involved with AMC, the better.” Luke Tetlow-Cross from Andy’s Man Club adds: “ANDYSMANCLUB have been working with Massive Wagons for the past two years, joining them on the Earth to Grace tour in 2024, Earth to Grace Part 2 in 2025, and their iconic Lancaster Great Hall show last September. Across those tours we handed out over 8,500 wristbands and information cards, and we’ve seen a huge number of Massive Wagons fans attend our groups with some going on to become facilitators and help us open even more clubs across the country. We’re thrilled to be heading back out on the road with the band for the Everywhere We Go tour this April and May. Massive thanks to Terri, the band, and the entire team for helping spread the message that #ITSOKAYTOTALK.” Joining them on the following dates are Welsh Rockers Scarlet Rebels, whose most recent album Where The Colours Meet' scored their second top 20 UK Album Charting record, hitting number 15 and giving them their first UK Album Chart Rock and Metal number 1. Frontman Wayne Doyle says “We’re absolutely buzzing to be joining Massive Wagons on their latest UK tour. We’ve shared a bill with them several times and we’ve always had the best time. They’re an amazing band and genuinely lovely people…So to be able to join them on the road is a massive privilege for us, we cannot wait.” EVERYWHERE WE GO – UK TOUR 2026 17.04.2026 – Norwich, Epic Studios 18.04.2026 – Leicester, O2 Academy 19.04.2026 – Holmfirth, The Picturedrome 23.04.2026 – Aberdeen, The Tunnels 24.04.2026 – Middlesbrough, Empire 25.04.2026 – Hull, The Welly 30.04.2026 – Margate, Dreamland 01.05.2026 – Exeter, Phoenix 02.05.2026 – Gloucester, Guildhall * *No Scarlet Rebels – Gloucester support TBC

A few months ago, if you had told me that one of my first live concerts of 2026 would be Robbie Williams, I’d have laughed at you. If you then told me that I would be seeing the stadium bothering pop-megastar at the legendary but comparatively tiny Barrowland Ballroom in Glasgow, I’d have said you were mad and needed to see a doctor pronto! Spoiler alert... that’s exactly what happened, as I accompanied Mrs Griffiths to the iconic venue on a cold February evening to see the former Take That star taking to the stage as part of his short but sweet Long 90’s Tour, in which he resisted the lure of arenas and stadiums to play four small UK venues to promote the launch of his latest album, Britpop. The deal was that he’d play the whole of 1997 debut album Life Thru a Lens followed by the whole of Britpop, which had surprised fans with an earlier than advertised release a few weeks earlier. Just enough time to get to know the songs! Having played to 70,000 fans at Edinburgh’s Murrayfield Stadium last summer, tickets for Williams’ show at the 1900 capacity Barrowland Ballroom were always going to sell out in minutes… if not seconds! However, perseverance in the face of pre-sale code adversity, along with 20 minutes of constantly clicking the refresh button long after the ticketing service said it had sold out resulted in me gaining legendary husband status by somehow finding two tickets. You see, Robbie Williams was always Mrs G’s favourite member of Take That but shockingly, she had never managed to see him live before due to holidays, work, sold out shows and the annoying distraction of having children. So, as we walked to the venue in the week leading up to our 21st wedding anniversary, she exuded an almost teenage-like excitement. Robbie Williams… at the Barras! The venue was already fairly full when support act Reverend and the Makers took the stage for an acoustic based run-through of their career. Despite not quite being heavy enough for a hard rock and metal devotee like me, I recognised a few of their songs. Despite an entertaining and engaging performance, the band was hit with something that has become a virus at concerts and shows in recent years: rude and ignorant behaviour! Whilst I accept that those in attendance were there to see Robbie Williams, there’s no excuse for talking and shouting loudly through any live set. It must have been so frustrating for the band, who couldn’t have failed to hear the constant murmur of voices that at times drowned out their sound. When did music fans become so entitled? As the lights dimmed and Williams’ band took to the stage, the roar of the crowd was deafening. With my preference being the heavier side of music, I really didn’t know what to expect from a Robbie Williams concert… but the first few bars of ‘Lazy Days’, the opening track of Life Thru a Lens, took me by complete surprise. It was a much heavier sound than I could ever have imagined. It was loud and almost grungy, turning to moody as the main man’s voice was introduced in the first verse. If I didn’t know better, I’d have said it was… rock music! From there, it was all the tracks from the album in the original running order. The title track led to ‘Ego Agogo’ before Williams, looking trim, fit and healthy, greeted the Glasgow crowd, taking in the applause before asking if anyone had seen the new Take That documentary, released the previous week. There was some liberal use of the ‘c word’, as the singer admitted to cringing at some of his past behaviour whilst acknowledging that his former bandmates and manager had indeed been… well… ‘c words’! Some boos could be heard as Gary Barlow was mentioned but this was largely replaced by cheers as Williams expressed what appeared to be a genuine love for Barlow and the others. The past is all water under the bridge and they’ve matured and moved on. From that little interlude, came one of his biggest songs and the staple for every contestant of late 90s and early 2000s reality TV programmes: ’Angels’. To my surprise and perhaps even a little shame, this middle-aged hard rocker knew every word and I sang along with gusto! In fact, I sang more than Williams did, as the star sat on the drum riser or stood at the edge of the stage to soak up the adulation of the audience as the Glasgow choir took lead vocals. Ok, it was quite an experience in a highly charged atmosphere… but as one inebriated punter told Jack Jones (I believe) at the famous Glasgow Apollo in the 1970s… “I paid to hear you sing… so sing”! To be fair, Williams eventually retrieved the song from the audience and led them through to the big finish. Great stuff! ‘South of the Border’ was followed by a rocking ‘Old Before I Die’, once again surpassing my expectations with its rock and metal-like power. ‘One of God’s Better People’ was good but completely overshadowed by ‘Let Me Entertain You’ which was so energetic that the two famous disco balls suspended from the ceiling were swinging ever so slightly. With a 10-piece band on the relatively small stage with him, including a brass section, it was perhaps one of the most rocking performances of a song that the famous ballroom will have seen for many years. Entertain us, he did! The problem from this point was that the remaining three songs, ‘Killing Me’, ‘Clean’ and ‘Baby Girl Window’ paled into insignificance in comparison, so a short break before Britpop was probably a good shout… but not before Williams stood alone, centre stage, to recite the hidden track ‘Hello Sir’, which appears to be a two fingers up poem about a teacher who didn’t believe in him when he was younger. I think Williams proved him wrong! The stage backdrop was changed to the Britpop album cover before Williams and the band returned to the stage for a track by track run through of the new music. Having had a quick listen to the new alum a few days previously (perhaps the first Robbie Williams album I’ve ever listened to in full), I had already decided that it sounded more like a rock album than the pop album I expected. With the founder of heavy metal (Black Sabbath guitarist Tony Iommi) and one of my personal hard rock heroes (the ‘Voice of Rock’ Glenn Hughes of Deep Purple) guesting on the opening track ‘Rocket’, my interest was piqued as to how it would sound in a live setting. Well, it was loud and fast with a touch of hard rock heaviness. Just enough to have me bopping my head and raising a fist! ‘Spies’ continued the hard rocking trend with an Alice in Chains-like intro that then moved into a catchy indie rock song before ‘Pretty Face’, with its catchy and bouncy chorus, had the crowd dancing and singing along from the front to the back of the venue. There was time for a quick and very current joke (or simple observation) about Williams not appearing in the Epstein files, caveated with “that’s what being agoraphobic since 2002 will do”! ‘Bite Your Tongue’, with a strange little rap/almost spoken intro, moved away from the harder edge of rock to the kind of pop-rock I’d usually associate with the singer, whilst ‘Cocky’ (autobiographical, perhaps?) with the line “you get to talk to Jesus. I get to talk to God” most harked back to 90s indie rock, in the days when I had hair and a waistline. The pace slowed a bit for ‘All My Life’, which dare I say it, had a bit of an Oasis vibe to my ear but moved into a very ethereal and cosmic sounding ‘Human’. The dance beats and sing along chorus of ‘Morrisey’ and the rockier ‘You’ led to the standard album’s final track ‘It’s OK Until the Drugs Stop Working’, with it’s catchy 1960’s dancehall feel that was a perfect hit for the Barrowland Ballroom, considering its history. There was time for a bonus track from Britpop’s deluxe version and that was decided through a poll on the Robbie Williams Instagram page. Now, this is where the confusion kicked in! The song finished, Williams thanked the audience and the band took a well-deserved bow before leaving the stage. However, the houselights didn’t come on, suggesting there would be an encore of some kind. The crowd waited… and waited… and waited. We still waited, even when the crew appeared on the stage and started to dismantle the equipment. Eventually, the lights illuminated the hall, showing a sweaty mess of an audience in all its glory, who realised the show was over and reluctantly trudged down the stairs, well and truly entertained. Robbie Williams at Glasgow’s Barrowland Ballroom will probably prove to be a one off. With rumours of a bigger tour in 2027, it is highly unlikely that fans of the singer will have another opportunity to see him up close and personal in such a small venue. After all, he’s a pop megastar, more suited to arenas and stadiums. Or is he? Seeing Robbie Williams live at the Barras changed my long-held opinion of him. I’ve seen many great concerts in the iconic venue, some of which rank as my favourite ever gigs. Def Leppard, The Darkness, The Pretenders, Mr Big, Bruce Dickinson, Gun and Skindred are just a few of the favourites. I can now add Robbie Williams to that list. Will I suddenly start listening to his albums? Probably not. Will I accompany my wife to see him from the back row of a stadium or arena, where most of the show is viewed from the big screens? Probably not? Will I proclaim him as the saviour of music? No. However, I am now mature enough to admit that I don’t need to like an artist to admit that they have talent or to enjoy their live shows. Robbie Williams is a born entertainer. In fact, I’d now go as far as to say that he is a true rockstar! But the best part of the evening was seeing the unbridled joy on the face of my wife as she saw her idol live for the first time… and that, my friends, is the true magic of live music.

There’s a pretty lengthy queue outside Dreamland this evening and it’s getting longer; Apparently soundcheck is overrunning and we might be waiting another half hour or so until they let us in. These things happen, but I’m feeling a little out of place amongst the Fozzy aficionados; A few weeks ago I’d never heard anything by the band, but had a vague awareness that they were fronted by pro-wrestler Chris Jericho (who I also knew nothing about!). Unusually, I got my ticket on the strength of the support bands, so I’m happy to take up position on the barrier ready for Marisa and the Moths. Making their Margate debut, I’m sure there are many in the room who discovered the band through last year’s Maid of Stone Festival - and perhaps that’s why it’s already so busy, a fact that’s not lost on a delighted Marisa Rodriguez. The self proclaimed “weird but cool” quartet set the bar high with their distinctly modern take on heavy rock that’s less about bulldozing riffs and more about attitude. There’s a mood that comes from the edgy guitar work, enhanced by Rodriguez’ voice that is soaring, beautiful and occasionally vicious. She sings about her anxieties, inner struggles and emotions, exposing herself in a way that feels almost intrusive for the listener. But ultimately, we can all relate to the sentiment of forthcoming single ‘Nothing’s Getter Better’, which goes down a treat. ‘Choke’ is embraced with similar enthusiasm, generating the first major singalong of the evening. The set concludes with ‘Needy’, which cleverly utilises the soft-loud dynamics that Nirvana made into an art. A difficult band to categorise, but an easy band to love, Marisa and the Moths somehow turn personal agonies into music with the power to move and to uplift. As someone who adores Judas Priest, Tailgunner have me on side immediately with a look that resembles the metal gods at their leather and chains finest. I can’t remember the last time a young band made me smile quite so broadly, but watching Tailgunner feels like watching a revival of good old British heavy metal, in the best possible way. There is much of Iron Maiden in Tom ‘Bones’ Hewson’s galloping bass lines, Craig Cairns’ theatrical vocal delivery and the twin guitar mastery of Zach Salvini and Jara Solis (the latter standing in for regular guitarist Rhea Thompson), albeit a little faster and more frantic. Some of that frenzied energy comes from drummer Edoardo Mariotti who drives the irrepressible ‘White Death’ with spectacular precision. A joyful band to watch, Tailgunner attack the stage like their lives depend on it, wielding their guitars like weapons and breaking out all the iconic stage poses that make you wish you were that cool (or is that just me?!). But it wouldn’t mean anything if they didn’t have the songs to back it up, so I’m relieved to report that they sound just as good as they look. ‘Midnight Blitz’ is a classy metal anthem that feels lifted from the 80s (and I mean that as a compliment), and ‘Tears in Rain’ is catchier still, with an irresistible chorus that makes you want to throw your fists to the air. Am I now a little bit obsessed? Possibly. If you like your metal traditional, and appreciate a singer who can really sing, Tailgunner might just be your new favourite band. I quickly learn that everything about Fozzy is larger than life, from the monster riffs and huge choruses to Chris Jericho’s impressive selection of sparkly jackets. A natural entertainer, Jericho knows how to work the room, commanding the audience from an elevated platform at the centre of the stage, and causing rapture when he gets close to the front row. Admittedly, I have to Google why everyone keeps shouting “Y2J” at him, but it’s obviously a sign of appreciation! The energy on stage is enviable; Guitarist Rich Ward may have a few years on me, but he’s clearly got better knees, barely standing still for more than a few seconds as he launches himself around the stage. And really, energy is what Fozzy is all about - sometimes the vocal harmonies don’t quite land, but it barely even matters, especially when the audience is singing almost as loudly as the band. I’m surprised at just how many bangers are in the band’s arsenal, the kind of catchy, arena ready anthems that are so easy to pick up and enjoy, even if you’re a bit of a novice (like me!). Jericho’s vocals are certainly reminiscent of Ozzy Osbourne, particularly on the thundering ‘Sane’, but stylistically Fozzy feel closer to Shinedown, every song an adrenaline blast designed to fire you up. A cover of ABBA’s ‘SOS’ might seem like a bit of a curveball, but doesn’t derail the momentum built by the likes of ‘Fall in Line’ or ‘Spotlight’. On the contrary, arms are in the air, and I’ve seldom seen a crowd so engaged. In fact, if you measured a band on how their audience reacted to them, Fozzy would come out on top. When Jericho mentions it’s the group’s first visit to Margate for many years (joking that he’s going to re-name the town ‘Mar-great’!), he’s met with an impromptu chant of “please come back” which says it all. A group who don’t care how seriously you take them, but care seriously about delivering a good time, it’s hard to imagine anyone leaving disappointed. A cover of ‘Crazy Train’ brings the evening to a close, and though covers are very much part of Fozzy history and undeniably good fun, they don’t really need them - their own ‘Judas’ is an anthem of their own creation, and Fozzy make this sort of thing seem very easy. It’s cold outside, but I’m leaving Dreamland very sweaty and hot - surely the mark of an evening well spent! The tour continues across the UK - get your tickets here: https://fozzyrock.com/tour/ SETLIST Fall in Line/One Crazed Anarchist/Lights Go Out/Painless/Spotlight/SOS/Burn Me Out/I Still Burn/Nowhere to Run/Army of One/Sane/Drinkin’ with Jesus/Do You Wanna Start a War/Purifier/Enemy/Judas/Crazy Train

Jay Buchanan’s debut solo album, “Weapons of Beauty,” is a deeply personal and introspective work shaped by a unique creative journey. Departing from the dense, riff-driven sound of his band, Rival Sons, Buchanan chose to craft this album in solitude, retreating to the Mojave Desert. The isolation and silence of this environment is indelibly stamped into the DNA of this album. Inspired by his environment Buchanan has delivered an album that displays a more vulnerable songwriting style. Those months alone, surrounded by his musical instruments, have resulted in Buchanan finding ways to instil that sense of silence and stillness into the music itself, resulting in songs that feel authentic, reflective, and emotionally exposed. You almost expect some desert sand to fall out when you open the album. Musically, the album embraces acoustic textures and Americana influences, with arrangements that are sparse, letting the songs breathe and the listener to be embraced by the warmth and earthiness of the recordings. This allows Buchanan’s expressive, textured vocals to come to the fore. His voice shifts seamlessly from softly whispered, to powerful, full-blooded rock god sonics. The album moves fluidly through genres such as soul, country rock, southern gothic, and gospel, creating a soundscape that is both expansive and grounded. Standout tracks include “True Black,” which delivers a fiery, sermon-like energy, and “Tumbleweeds,” which evokes a darker, dust-laden Americana reminiscent of artists like Jason Isbell, Will Hoge, or Dave Hause. “Deep Swimming” recalls the later work of Robert Plant, while “Dance Me To The End of Love” takes the Leonard Cohen song into smoky, early seventies Stones territory totally eschewing the pop sounds of Cohen’s 80’s original. While these influences can be heard it’s Buchanan’s emotional openness and vocal presence that give the album its unique identity. Lyrically, the album delves into themes of grief, reckoning, and self-examination. “Caroline,” a slow, mournful folk ballad, tells the story of a man in the Old West mourning his wife, using open musical space to let the character’s sorrow resonate. Ballads like “Shower of Roses” and “Sway” showcase Buchanan’s ability to build emotional intensity gradually, moving from gentle vulnerability to powerful release. The more upbeat “The Great Divide” features a pop-leaning groove with bluesy guitar accents, while “True Black” examines redemption through its gospel influences, portraying a man who’s reflecting on the moral balance of his life. These songs demonstrate Buchanan’s willingness to tackle the awkward moments in life, a quality shaped that could also be attributed to the way the album was written and recorded. It feels like making “Weapons of Beauty” was both artistically demanding and personally daunting for Buchanan. It can’t be easy to step away from the security of a well-established band and face your own abilities as a solo artist. In interviews, Buchanan has spoken about the fear and lengthy periods of unproductivity he experienced encountered while recording the album. It feels like this all adds to the cocktail that when mixed served up the album’s heart. These songs sound authentic and the human emotions expressed are raw, world weary and roughly hewn, yet always there is hope and love expressed within the album. Buchanan was able to shape this raw material into a cohesive record with the help of producer Dave Cobb. Cobb’s production seals in the album’s honest, rough-edged quality while achieving a sense of unity and structure. Across its ten tracks, “Weapons of Beauty” presents an artist venturing into unfamiliar territory, embracing silence, uncertainty, and emotional exposure. The result is an album that is both intimate and expansive, rooted in Americana yet unafraid to explore diverse stylistic landscapes. Buchanan’s debut stands as a notable departure from his previous work, offering a quieter but deeply resonant statement shaped by isolation, introspection, and a renewed dedication to storytelling. Listeners who appreciate honest, emotionally charged songwriting and genre-blending Americana will find much to admire in this compelling debut.

This release marks a significant evolution for Henry Grace, transitioning from solo artist to frontman with a full band. The album, recorded live at Middle Farm Studios and co-produced with Blaine Harrison (Mystery Jets), embraces a raw, authentic sound that prioritizes presence over polish. Grace’s collaborators: Brian Love, Toby Evangelou, and Tom Holder: play a central role, contributing to a cohesive and dynamic ensemble. Thematically, the album explores transitions: geographical, emotional, and existential: reflecting Grace’s experiences between California and London, and the introspection that comes with entering a new decade of life. Tracks such as “Rust,” “Moving On,” and “Say Something Mean” highlight both the album’s sonic diversity and Grace’s lyrical depth, balancing vulnerability with resilience. “This Is The Place” offers a stripped-back, lo-fi moment, while “Things” delivers a lush, layered soundscape. “California Rain” stands out as a poignant reflection on Grace’s time in Los Angeles, tying together the album’s transatlantic themes. “Passing Through” and “Leaving Song” further develop the motif of movement and emotional complexity, with the band’s restrained performance enhancing the impact of Grace’s vocals. “Days Like This,” recorded late at night, captures the spontaneous energy and camaraderie of the group, providing a fitting conclusion to the record. Overall, “Things Are Moving All Around Me” is a cohesive and mature work, capturing the exhilaration and challenges of personal and artistic transition. Grace’s songwriting is refined, the band is tightly integrated, and the production lends a lived-in authenticity. The album represents a clear progression from Grace’s earlier work, establishing a sense of belonging and creative confidence.

The undisputed leader of the 2nd wave of Gothic Doom Metal, DRACONIAN, is finally back – and they return in better shape than ever! Their new studio album, In Somnolent Ruin, will creep its way from the artist’s spirit into the light of day on May 8, 2026 via Napalm Records. This promises to be one of the most personal records in the band’s discography, revealed through a dreamlike journey across nine tracks and the poetic lyricism of vocalist Anders Jacobsson. The new album also marks the return of long-time vocalist Lisa Johansson – the band’s vocalist for their first five records – who now once again shares vocal duties with Anders Jacobsson. The lineup on the new album has been together and touring since 2022, which gives the album a special live-feeling. As a recurring theme on In Somnolent Ruin, DRACONIAN explore Plato’s theory of the soul – an element that was not planned from the very beginning, but instead emerged organically during the creation of the new album, which has once again been written, recorded and arranged by Johan Ericson. Johan Ericson on the new album: “The first idea—the embryo, really—of In Somnolent Ruin goes back to 2021. It began with the song “Misanthrope River,” a title that had already existed since the demo days of Under a Godless Veil, now finally finding music to accompany it. As small pieces and fragments slowly started to grow into actual songs, it only made me more inspired to keep writing. I drew a lot of inspiration from art and from other musical acts—everything from dark folk to eerie ambient music—which helped keep the creative spark alive. Early on, I had a clear sense of the overall vibe I wanted for the album: classic doom intertwined with ambient soundscapes. I also wanted a wide variety of songs across the record, but without losing that strong gothic thread that connects everything and gives it a shared atmosphere.” Anders Jacobsson adds: “It took quite some time before the album began to feel whole. We didn’t settle on the final track list until very late in the process, as each piece slowly came together—vocals finding their place, ideas overlapping, and a real sense of collaboration allowing the songs to evolve toward an imagined destination. In the end, the music always seems to transform into something that once felt almost unimaginable. For me personally, it was a fascinating but challenging experience. I struggled at times to see how everything would ultimately come together, and there were moments of doubt throughout the process. But it did come together in the end, and all the uncertainty and self-reflection somehow proved worthwhile. The creative journey for me is always deeply tied to introspection, and this record demanded a great deal of that. It was without question the most difficult album for me to fully grasp and work through—but perhaps that’s what makes the final result all the more compelling, and, I believe, quite remarkable. It’s been a long time coming…” It was also fantastic to work with Lisa again, and to have Daniel Johansson bring a new dimension to the drums added another layer of depth to the entire process.” In Somnolent Ruin Tracklist: 1. I Welcome Thy Arrow 2. The Monochrome Blade 3. Anima (feat. Daniel Änghede) 4. The Face of God 5. I Gave You Wings 6. Asteria Beneath the Tranquil Sea 7. Cold Heavens 8. Misanthrope River 9. Lethe In Somnolent Ruin will be available in the following formats: 2 CD 36-page Earbook incl. In Somnolent Ruin & Bonus CD with 2 Tracks only available with this format (exclusively available via Napalm Records Mailorder) 2 LP Gatefold Picture Vinyl incl 24 pages 12’’ booklet (exclusively available via Napalm Records Europe Mailorder) 2 LP Gatefold Splattered Black Smoke/White Orange Black Vinyl incl 24 pages 12’’ booklet (exclusively available via Napalm Records Mailorder) 2 LP Gatefold Gold Vinyl incl lyric sheet (exclusively available via Napalm Records Mailorder) 1 CD Digipak Digital Album Six years have passed since the band released its predecessor, Under a Godless Veil, DRACONIAN’s most successful record to date. Much has changed since then, yet everything feels familiar: after introducing new guitarist Niklas Nord (Myteri, DeathTrap, The Random Victims) in spring 2022, the band announced the return of vocalist Lisa Johansson, who now once again shares vocal duties with Anders Jacobsson, promising even more enigmatic music to come. Johansson had been the band’s vocalist for their first five records before leaving DRACONIAN in 2011 for personal reasons. In Somnolent Ruin marks her official comeback, following several live performances at festivals over the past years. The band’s renewed lineup is rounded out by Daniel Johansson (Antikult, ex-Wormwood), who joined DRACONIAN as a full member in 2025 following Jerry Torstennson’s departure. Prior to that, Johansson had served as the band’s session drummer since 2019. It’s the first album on whch longtime member Daniel Arvidsson can be heard on bass, where he switched from guitar in 2022. In Somnolent Ruin captures the essence of a band that no longer needs to prove anything – and yet still does. Active since the mid-1990s and having released their debut album, Where Lovers Mourn, in 2003, DRACONIAN have continuously demonstrated their unmatched ability to craft otherworldly doom melodies and searing heavy instrumentation, complemented by lyrics that read like poetry. Their art cuts deep, compelling listeners to confront their inner demons, wander through the darkest shadows, and even embrace emotional numbness, only to emerge with a sense of inner peace. This album confronts listeners with life’s hardest questions, exploring feelings of alienation and the search for direction in unfamiliar territory. In Somnolent Ruin’s journey begins with “I Welcome Thy Arrow”, which captivates from the very first seconds through haunting melodies and a vocal interplay that embodies fragility and strength alike. Tracks such as “The Monochrome Blade” and “The Face of God” introduce increased tempo and eruptive vocal dynamics. “Anima” features Swedish artist Daniel Änghede, adding layers of emotional depth and confronting listeners with their darker impulses, capturing the sense of being lost and questioning one’s place in the world. “Asteria Beneath the Tranquil Sea” serves as a transitional interlude between “I Gave You Wings” and “Cold Heavens”, the latter exploring the delicate balance between life and death and not finding relief in any of both, while delivering the album’s most intense vocal performance. “Misanthrope River” opens with an extended instrumental passage and narration by Simon Bibby, slowing the tempo but by no means reducing the emotional weight, reflecting life’s daily struggles and obstacles. The closing track, “Lethe”, references the river of forgetfulness in Greek mythology. Those who drank from it would lose all memory. “Oh, shooting star… Drown in me! Drink. Forget. Repeat.” mourns Jacobsson through devilish growls. And yet, In Somnolent Ruin remains a work of art one wishes not to forget – not a single blink of an eye. DRACONIAN Live 2026: 16.05.26 BR – Sao Paulo / Carioca Club 17.05.26 AR – Buenos Aires / Teatro Flores 19.05.26 CL – Santiago / Sala Metronomo 21.05.26 CO – Bogota / Teatro Astor Plaza 23.05.26 MX – Mexico City / Circo Volador 06.08.26 CZ – Jaromer / Brutal Assault More shows to be announced DRACONIAN is: Johan Ericson – Guitar, Vocals, Keys Anders Jacobsson – Vocals Lisa Johansson – Vocals Daniel Arvidsson – Bass Niklas Nord – Guitar Daniel Johansson – Drums [Photo Credit: Therés Stephansdotter Björk]

Hollywood, CA (February 11, 2026) — W.A.S.P. is excited to announce the “1984 To Headless” 2026 U.S. and Canada Tour with KK’s Priest as very special guest. The tour kicks off on September 10 in CA and runs through October 31st. W.A.S.P. will be playing the hits from their first four albums. Tickets and VIP: www.WASPnation.com General on-sale: Friday, FEB 13th at 10am local time "1984 To Headless", the Fall 2026 North American Tour, W.A.S.P. returns Playing Live in the U.S. and Canada, paying tribute to their 1st Four Albums... Live! Selected Hits from W.A.S.P.'s 1st Four Albums promise to create a True Rock 'N Roll Spectacle complete with a Live Stage Show bringing those Albums Alive for the 1st... and Only Time. The 1st Five Years of Artist's Careers most always determine what their legacy will be if they go on to greatness, or be remembered as a footnote in music history. W.A.S.P. cemented their place in the Rock History in those 1st Five Years with their iconic first album in 1984, followed the next year with "The Last Command", "Inside the Electric Circus" in 1987 and capped with the their Greatest yet, "The Headless Children" in 1989. In their Fabled 44 year history W.A.S.P. have been pioneers of Shock Rock, Psycho Drama and Live Spectacles that are now Legendary in the World of Rock. The Band will take the "1984 To Headless" Tour to Europe and the World in 2027. “It's hard to express the genuine excitement I'm feeling in describing the "1984 To Headless" U.S. Tour. Playing those songs from those 1st Four Albums in a combined package like this is something we've never attempted before. In addition to the songs, the entire Stage Show will look like the Album Covers from those Records will Come Alive... right right before your eyes! Complete with all the History and Bombastic Live Presentations that's made this Band one of the great Live Bands in the Theatrical Rock World. When elements of those Album Covers start to come alive, right on the stage before the people it's gonna be something they'll not soon forget! I'm also equally thrilled to bring K. K.'s Priest and those iconic Hit's onboard for all the Fall 2026 U. S. Shows. Both Bands... together... on the same stage... on the same night... where do I get my ticket? It's gonna make the "1984 To Headless" Tour one for The Rock Ages"!” — Blackie Lawless “Great news! KK’S PRIEST is going to be returning to the US and Canada this September and October 2026! We will be teaming up together with metal legends W.A.S.P. and with over 40 shows, this is going to be an epic metal and steel tour featuring lots of Priest classics! We look forward to seeing you all again very soon so please get on board early, we do not want you to miss this one.” — K.K. Downing W.A.S.P. will be again offering fans VIP tickets that give fans a chance to meet Blackie Lawless, get a personal photo with Blackie, autographs, a W.A.S.P. traveling museum with new items added since the last U.S. tour, and take part in a very personal Q&A with Blackie. VIP tickets can be purchased at https://waspnation.myshopify.com “W.A.S.P. -1984 TO HEADLESS” 09-10 - El Cajon, CA The Magnolia 09-11 - Los Angeles, CA The Wiltern 09-12 - Riverside, CA Fox Performing Arts Center 09-13 - Phoenix, AZ Celebrity Theater 09-14 - Santa Fe, NM Buffalo Thunder Resort & Casino 09-16 - Austin, TX Emos 09-17 - Tulsa, OK Tulsa Theater 09-18 - Dallas, TX House Of Blues 09-19 - San Antonio, TX Aztec Theater 09-20 - Houston, TX House Of Blues 09-22 - Clearwater, FL Ruth Eckard Hall 09-23 - Daytona, FL Peabody Auditorium 09-24 - Jacksonville, FL Florida Theater 09-25 - Raleigh, NC The Ritz 09-26 - Jim Thorpe, PA Penn's Peak 09-27 - Portland, ME Aura 09-29 - Boston, MA House Of Blues 09-30 - Hampton, NH Hampton Beach Casino 10-01 - Wallington, CT Toyota Oakdale Theatre 10-02 - New York, NY The Palladium 10-03 - Carteret, NJ Carteret Performing Arts Center 10-05 - Montreal, QC Mtelus 10-06 - Ottawa, ON Hard Rock Casino 10-07 - Pickering, ON Pickering Casino Resort 10-09 - Des Plaines, IL Des Plaines Theater 10-10 - St Charles, IL Arcada Theater 10-11 - St Charles, IL Arcada Theater 10-13 - Glenside, PA Keswick Theatre 10-14 - Harrisburg, PA Capitol City Music Hall 10-15 - Cleveland, OH Agoura Theater 10-16 - Milwaukee, WI Pabst Theater 10-17 - Green Bay, WI EPIC Event Center 10-19 - Winnipeg, MB Burton Cummings Theatre 10-21 - Edmonton, AB Midway Music Hall 10-22 - Calgary, AB The Palace Theater 10-23 - Coquitlam, BC Great Canadian Casino Vancouver 10-25 - Seattle, WA Moore Theater 10-27 - San Jose, CA San Jose Civic 10-29 - Rancho Mirage, CA The Show @ Agua Caliente 10-30 - Las Vegas, NV House Of Blues 10-31 - Anaheim, CA The Grove Tickets and VIP: www.WASPnation.com General on-sale: Friday, FEB 13th at 10am local time About W.A.S.P. Few Bands in the history of Rock N’ Roll have ever incited the love, the hate, the raw emotional effect this Band has had on the world. From the very beginning, in the small venues of Los Angeles California, and later to the numerous countries worldwide that banned these Winged Assassins from performing live, the Band’s unique style of Shock and Rock caused Religious organizations, Local City Councils, Parliaments, and the Washington D.C. Senate to hold hearings in an effort to bar this group from selling records and trashing stages everywhere they played. The band’s founding member, frontman Blackie Lawless, has led the group as its lead vocalist and primary songwriter since its beginning. His unique brand of visual, social and political comment took the group to worldwide heights and sold millions of records alongside a legacy of sold out shows across the globe for 4 decades. About KK’s Priest You can’t keep a heavy metal legend down... Although it’s been over a dozen years since guitarist and songwriter K.K. Downing departed Judas Priest, the iconic band he co-founded and played with for 40 years, he was never really going to retire. It was only a matter of time before he reclaimed the spotlight. As his new album title proclaims, The Sinner Rides Again. K.K. Downing has had metal coursing through his veins from the beginning, starting in the Midlands region of England where Judas Priest was born. He compellingly chronicled his life odyssey in his 2018 autobiography, and his recent induction into the Rock and Roll Hall Of Fame further secures his legacy as a pioneering musician, songwriter and guitarist. As a founding member of the classic Judas Priest line-up, Downing helped lay the foundation for the heavy metal genre as a whole. His distinct style of playing is easily identifiable, he was part of a six-string duo that complemented and contrasted each other, and they would progress to new levels of excitement. He has taken that ethos and applied it to KK’s Priest with impassioned results. Fans already excited by KK's return, will also be elated that KK’s Priest are gearing up for another round of touring in the US and Canada in the fall of 2026 with fellow metal legends W.A.S.P. For Downing, KK’s Priest is not just a statement of intent. It is a statement of being. His lifelong heavy metal saga continues.