Latest Rock News - Album & Live Reviews

As a typically rain-threatening Edinburgh evening unfolded, it set the tone for Beth Hart’s return to the Usher Hall. Opening act, Wille & The Bandits, reduced on this tour to Wille Edwards and multi‑instrumentalist Harry Mackaill drew the crowd in. Intimate and quietly confident, their acoustic set was sprightly, earthy, and immediately engaging. A timeless quality characterises Edwards’ vocal style, which occasionally recalls Mike Scott’s rugged clarity and Mark Chadwick’s melodic grit. With a stripped-back arrangement, his voice could shine, and the audience reacted with genuine warmth. Although brief, the set effectively prepared the room for the main event.  Beth Hart’s sultry, unhurried performance of ‘Tell ’Em To Hold On’ saw her step into the spotlight, sitting at the stage’s extreme edge as if she were serenading everyone in the room. Half confessional and half theatrical, that immediate closeness established the tone for the early part of the evening. A sexy swagger, carefully controlled to avoid excess, defined her Parisian-style rendition of Melody Gardot’s ‘If I Tell You I Love You.’ With the band already locked in, they provided tight, understated support, and guitarist Jon Nichols delivered the first of several inspired solos that would punctuate the night. Bill Ransom’s crisp percussion propelled ‘Love Gangsta’ into deeper blues territory. The opening trio of songs evoked a feeling of being transported to a smoky back room far from Edinburgh, where the blues simmer rather than shout. Arriving loud and full of playful bravado, ‘Wanna Be Big Bad Johnny Cash’ gleefully shattered that illusion. Hart’s vocals, delivered with a knowing glint in her eye, were fully aware of the fun she was having as the band launched into a lively rendition of Cash’s signature “boom-chicka-boom” rhythm. The evening then unfolded as a journey through various blues styles, which were by turns raucous, reflective, tender, and mischievous. Hart included a couple of early-set covers, with the first being a piano-led performance of Bobby “Blue” Bland’s ‘I’ll Take Care of You.’ Nichols’ guitar, which complemented the song without overpowering it, subtly enhanced Hart’s vocals. Leaning into the off-kilter charm of Tom Waits’ ‘Chocolate Jesus’ while preserving its emotional weight, they turned the tune into a waltz. Supplying the bulk of the seventeen-song set, however, was Hart’s own catalogue. In a reflective mood, she chose songs for her set list, which she alters almost nightly, to explore vulnerability and fire. Matching Hart’s intensity as she growled her way through each line, the band delivered ‘Fire on the Floor’ and ‘Saviour with a Razor’ with raw energy. Anchoring the chaos with a steady pulse, Tom Lilly’s bass work was particularly strong here, while Nichols’ guitar cut through with slashes of electric punctuation. Speaking openly about her hardships and then performing ‘St. Teresa’ as an intimate solo was one of the night’s most moving instances. ‘Leave the Light On’ followed. Sitting alone at the piano, Hart bared her soul with a level of honesty that left the hall silent. This served as a reminder that the artist, despite her swagger and powerful vocals, had genuinely experienced everything she performed. With the full band back for a series of acoustic-leaning songs including ‘Baby Shot Me Down,’ ‘Fat Man,’ ‘Broken & Ugly,’ and ‘House of Sin,’ the mood brightened once more. With a sense of camaraderie and looseness, these songs closed out the main set, as the musicians clearly enjoyed the chance to strip things back and play with a different texture. As Hart and the band left the stage, the audience’s enthusiastic standing ovation was understandable. They returned quickly. Earlier in the evening, Hart had revealed that a bug was going around the band and that she wasn’t feeling her best. That truth, however, only amplified the impressiveness of her performance. She opened the encore with a sublime rendition of ‘War in My Mind,’ her delivery imbued with a depth that showed she was tapping into emotional reserves instead of physical strength. Following that was a minor rebellion. Although the venue’s curfew was approaching, Hart persuaded her husband and manager that there was still time for an additional song. A gift to the audience, the rarely played ‘There in Your Heart’ emerged as a tender and understated duet performed by Hart and Nichols. This offered a beautiful finale that fitted perfectly with the tone of the evening’s set. The crowd delivered a thoroughly deserved second standing ovation, rising to their feet once more after the final encore. Throughout the evening, Hart was tender, fierce, loving, a bit naughty, and entirely captivating. Her stage presence vibrated with genuine electricity. One of the most expressive and emotionally fearless performers in today’s blues and soul scene, she continues to impress. Hart provided a performance that seemed both refined and unplanned, supported by her exceptional touring band: Jon Nichols on guitar, Tom Lilly on bass and upright bass, and Bill Ransom on drums and percussion. Her live performances come highly recommended for anyone with even a slight interest in the blues. Having been a superb night out, rich in sentiment, mirth, and musical brilliance, the Usher Hall patrons left with the distinct impression that they had witnessed a truly special occasion.

They say that if life gives you lemons, you should make lemonade. In her own words, Cassidy Paris “went through some shit last year”. In rock & roll / Spinal Tap terms, you could say “if life gives you shit, make a shit sandwich”, or, as Cassidy has done – turn all the crap, setbacks and trauma into a bitching good set of songs and get back out there. And so, it came to pass, that the young Aussie rock chick did come back to finish what she started – stronger, older and wiser after a string of recent positive experiences, and with a second album ‘Bittersweet’ to share. To start the show, Cassidy is in ‘Bad Cop’ persona for ‘Walking on Fire’ and the set includes other fan favourites from her very strong debut album ‘New Sensation’ including ‘Like I Never Loved You’ and ‘Danger’, plus a throbbing and pulsating ‘Midnight Desire’. Incidentally, The Dreadnought is perfect for midnight desires on a Saturday night, as its upstairs rock club is open until about 3AM. Equally, it is also good for a quick getaway back to Edinburgh, with trains at 22:46 and 23:16 from the nearby station and there were quite a few Edinburgh folks in the crowd after this gig was switched from the now under-renovation Bannerman’s Bar. I’m sure most of them saw it as an upgrade in terms of facilities. The bitter and the sweet are on show from that second album, including ‘Butterfly’, ‘Wannabe’ and ‘Getting Better’ and for sure, Cassidy is getting better. Her voice seems even stronger, she’s got some kick-ass stage moves and she is very mature, polished, entertaining and professional. Her mix of big 80s rock (a hint of Heart and Pat Benatar here and there) blended with a modern diva vibe (think Lzzy Hale or P!nk) is ready for the big stages, and that’s where she’s been already this year. Not only did Cassidy play alongside some big-name label-mates at Frontiers Festival in Italy recently, she also compered the show, and did a fantastic job by all accounts. Prior to that, she also appeared on the Monsters of Rock Cruise with another batch of mega-names. Cassidy is used to mixing with the stars, in fact she was born into it. Her dad, Steve Janevski is one of Australia’s top blokes and top guitarists and he is known for his stints in Black Majesty, The Radio Sun and now Wicked Smile. He’s on guitar duties again on this tour, alongside drummer Pete Newdeck and a sexy Brazilian bass-playing guitarist called Vinnie Tex. A highlight on the ship was singing Danger Danger’s classic song ‘I Still Think About You’ with that band’s legendary singer / good guy Ted Poley – twice actually (his set and hers). Cassidy went solo on that one tonight, to great effect, but she does get to duet with her new BFF, Russ from Fireheart, on ‘Nothing Left to Lose’ later. After her “Annus Horribilis” last year, Cassidy is having an “Annus F*cking Great-is” this year and it’s not over yet. She’s back in July for a few more dates, including the Maid of Stone festival, and it sounds look like there’s more great stuff to be announced shortly.  Fair play to Cass. She did come back to complete what she had commenced, but she’s not finished yet. Not by a long way. Watch this space.

Released 3rd July on Fireflash Records

Where was Bret Barnes?  He was probably deep undercover on a top-secret mission. He might have been breaking into a hollowed-out volcano and beating up dozens of bad guys with his bare hands, while saving damsels in distress. I asked Carly Simon and she said “he’s where he should be all the time, and when he’s not, he’s with some underworld spy or the wife of a close friend.” She also said “Nobody Does it Better”, which is true, but fortunately, Daniel Hundson out of For the Forsaken was able to stand in on bass for this gig supporting Cassidy Paris in Bathgate. Fortunately, Bret’s backing band Fireheart were on great form as usual. They had made a few friends in these parts supporting Dan Byrne in Edinburgh, so there was a good turnout down the front for their set and they certainly made a few more new friends after what was only their 16th show ever. At first, I thought Fireheart was maybe a naff generic random-generated name, but now that I’ve seen them twice, it is clearly very appropriate as they play with fire and passion and a lot of heart. They are very good and already have some monster songs with big hooks, even bigger harmonies and some euphoric melodies. That starts with ‘Wild Hearts: Wild Nights’ which sets the tone, and continues with more great and uplifting songs from their ‘Rise’ EP like ‘(Good is) Good Enough’ and ‘I’m Not Dreaming’. There is a soul to this band and a sense of fun too. They’ve been making some hilarious social media videos with Cassidy and her crew on the tour and they carry that onto the stage. Russ Grimmett is an engaging presence and he can certainly hit some notes. He’s backed up by Kev Baker on “woah-ohs”, jokes and wacky facial expressions. Russ later joined Cassidy for a song and they’ve got a playful ‘sneak a specific word into the stage chat’ game going that Russ won for the first time with “eyebrows” while young Cass failed on “carburettor”. At this stage, Fireheart are recognisable faces but still relatively unknown as a band, but everywhere they play they get a great response and that leads to repeat customers, good vibes and word-of-mouth recommendations. They are making a name for themselves in the best way. Tonight’s set featured some unreleased new songs and there is an album in the works, so the path to global domination seems clear. Just don’t ask Bret Barnes where he’s been. If he tells you, he might have to kill you.

If you are looking for an unbiased or critical review of last week’s Christopher Cross show in Edinburgh, this is not for you. I am a confirmed fan-boy, as evidenced in my gushing review for Rockfiend on what I thought at the time would be Christopher’s one-and-only Scottish concert in 2019. (link at the end). Since then, he’s been very sick and recovered from illness, and now he’s come to my home town to play in the magnificent Usher Hall in front of another enthusiastic audience – a fitting stage for his talents. To start the evening, Chris Difford from Squeeze ambled on for a hilarious stand-up comedy routine interspersed with some groovy Squeeze tunes performed solo acoustically. His name-dropping stories are as funny as, particularly when talking about some of the “wankers” he met when filming Top of the Pops back in the day, and playing darts with Peters & Lee (allegedly)! The “Deptford Dylan” isn’t that marvellous a singer, but his historical South London musical street poetry is still first-class, with ‘Up the Junction’ and ‘Cool for Cats’ being particularly well-received. A national treasure, bless ‘im. The stage was already set up with a giant backdrop of “that” album cover. The flamingo has long been the easily-recognisable symbol for Christopher’s music, but I’m not sure how appropriate it is really. The exotic pink birds are nice to look at obviously, but they’re also a bit smelly, make a dreadful honking noise and are famous for standing on one leg, so maybe Jethro Tull might have been more appropriate? Apparently, Christopher had the album art work long before the first album was made and the rest, as they say, is history. That self-titled debut was released a few months after my 18th birthday on 27th December 1979, so effectively, it was the first great album of the 1980s. For me, it is one of two “perfect” albums that I own; every song is genuinely great, and there are some all-time classics on there, but as well as Christopher’s own performance, it also features the very best backing singers and musicians of the day and it is beautifully produced. The only other album that gets a “perfect” rating from me is ‘Bat out of Hell’ by the way. Although all the songs from the debut album were played, the show opens with the brilliant ‘All Right’ from the excellent follow-up ‘Another Page’. There’s a very cool jazzy feel to the arrangement and that continues throughout the set, with groovy bass, classy piano and whiplash-smart drumming, and of course, the ever-present Andy Suzuki blowing the sax and other assorted horn-style thingies to great effect. When the great man starts to sing, the timbre of his voice is unmistakable, but sensibly, he’s got three very fine lady backing vocalists along to share the heavy lifting and his guitar playing is still outstanding too.  The whole set is deliciously laid-back, fragrant and “yachty” in the best of ways. A short acoustic interlude includes ‘Spinning’, ‘Words of Wisdom’ and ‘Back of My Mind’ from the 1988 album of the same name. If you happen to paint the Mona Lisa on your first trip to an artists’ studio then it’s good news and bad news. Your finest work will be immortal but everything else will be in the shade by comparison, no matter how good. Christopher actually has a flamboyance of flamingo-covered albums and they are all full of juicy goodness. He seems to be at peace with that, judging by his self-deprecating comments and his joking reference to any “weirdo obsessives” in the crowd that might recognise ‘Dreamers’ from the flamingo-less ‘Doctor Faith’ album from 2011, although he did note that it was currently trending on Spotify for some reason - “whatever that means”! Of the classics, ‘Sailing’ evokes swoony noises from the mature audience and ‘Arthur’s Theme (Best That You Can Do) is the most filmed, but all of the not-so-deep cuts are absolutely gorgeous in their re-mastered form. It ends, of course, with ‘Ride Like the Wind’ which even provokes some unwise dancing in the aisles, but everyone goes home happy. Earlier this month, Christopher celebrated his 75th birthday with a show at L’Olympia in Paris which was recorded for posterity. With Alan Parsons on production duties, it should emerge as a live album shortly. It should be a fine record of a classic artist and I hope we will see him back on these shores again some time.

On a balmy Falkirk Friday night we are joined by some of the best alternative stoner rock Scotland has to offer. The Rock Bottom, an up and coming venue providing the music scene with a place to grow in the heartlands. The crowd was ready from the get go and only getting busier through our the night. Our first band on the list was Kurnel Fist, a 3 piece stoner rock outfit hailing from Dundee. Providing us with gloriously beefy bass lines, thundering riffs and a melodic flow big enough to summon wizards to this humble establishment. You would struggle not to get on board with this band, an excellent opener and just a great start to a loud evening. Our second band on the bill was Fuz Caldrin, a personal favourite and their first time in the rock bottom, hopefully not their last as the most local of the bands. A 4 piece neolithic alternative stoner fuzz band hailing from the bathgate hills! Providing us a with a true half hour of power! A particularly engaging high octane fuzzy horror trip, featuring references to the shining and the devils rejects. Fuz was also joined by Robot Death Monkey's, Shaun for their final song of the evening, a creature feature. Band numero 3 gracing the stage was the Zealous Chieftans, coming all the way down from the north east and still pulling a crowd. This 4 piece stoner rock band were dishing out fast paced spacey jams and the loud high energy head bangers that were just what the doctor ordered for a Friday night! The Chieftans were also joined by Shaun, of robot death monkey fame (check these guys out too, Edinburgh based and a hell of a lot of fun on stage). Our final act of the evening, Earthcaster. Another 4 piece from Fraserburgh blowing the top off The Rock Bottom with their catchy riffs and doomy stoner sounds! Technically excellent and just rounding off the night brilliantly, was genuinely a show not to be missed. Again, just an excellent night of pure Scottish stoner rock. At £5 per head on the door, you're seriously not going to get a better deal. Keep supporting local venues and bands, keep turning up and Scotlands music scene is only going to get louder! 

It was a good day for Dan Byrne. His solo career had been a bit of a slow burn, working away in the shadows and small halls while perfecting his craft, before writing and recording this first solo album. He’s been working his wee socks off promoting it in advance with a big social media campaign, radio support and a sell-out UK tour. Finally, his big day had arrived and he spent it in Scotland, shuttling between the excellent Assai shops in his girlfriend’s home town of Glasgow and the magnificent capital city, where he had big boxes of CDs to sell and sign, and a queue of punters happy to take them off his hands. As a bonus, there was a short in-shop acoustic set and an entertaining Q&A. It was just Dan and his hat and his guitar, plus that big voice that had no problem filling the room. The song ‘Praise Hell’ was familiar from his upgraded and sold-out show at The Voodoo Rooms earlier in the year, followed by ‘Saviour’ which he started with a bit of ‘Wanted Dead or Alive’ as an intro. Both demonstrated Dan’s incredible vocal talent. Vocally, he is grounded in that blues-infused classic rock style reminiscent of Paul Rogers and David Coverdale, but with a distinctly modern twist and infusions of country, soul and modern rock. ‘She’s the Devil’ was next up. This was one of Dan’s big “gateway” songs – video clips have had over 5m views on social media and he’s had a lot of air-play on Planet Rock too, all of which he described as “mind-blowing for a little lad from Liverpool.” The chat and Q&A between songs was very entertaining. Dan revealed that he attended his first ever gig at 6-years-old and it was in Scotland; a 3-day Fish Convention at Haddington Corn Exchange, no less! When pressed, he did confess that his musical ‘guilty pleasure’ was ‘One Love’ by Blue, which he had enjoyed performing on the ‘SingStar’ karaoke console game at home as a youngster, along with ‘I Believe in a Thing Called Love’ by The Darkness. Dan also revealed that he had written all of the songs on the album himself, over a three-month period, although he was at pains to stress that he was not a ‘control freak’ and his band had added a lot, but as a first-time solo release, it was very personal for him and important that he expressed himself fully.  He finished the show with one of his best: ‘Death of Me’. On the record, it is a massive tune with an arrangement reminiscent of a Bond theme and he belts it out like “Adele with balls”, but it also worked very well in this stripped-back environment. It does not take repeated listens to get into this album – it is an instant classic right out of the case. The blues-rock base is a solid anchor but it is not predominantly retro in style. ‘Sober’ has an almost AOR sound, although the lyrical story is far from “soft and fluffy.” As with most of the songs he played in-store, there are a few “devil woman” stories on the album – I’m not sure how autobiographical they are, but it sounds like Dan’s love life has not always been smooth, or maybe he has dated all of the members of female occult-lite metal band Dogma? In any event, this first collection of songs is a very strong offering. All of the hard work and paying-of-dues has resulted in a very fine album indeed, and hopefully Dan will have another very good day this week when the chart placings are announced. He deserves it.

Like many of the artists we cover, most of our team at Rockfiend (myself included) have day jobs, sometimes these take over and our writing has to wait. This is the back story to this review appearing six weeks after release. Some might question the point of publishing a later review given how many words have already been written by others. Is there any point? Can I add anything or simply repeat others? Well, writing later has some advantages, it can offer different perspective and also asks other questions. And if the music is good it shouldn’t just have a short shelf life to be reported within a few days. So, am I still listening to the album 6 weeks on? Yes, most definitely. Does it live up to the hype? Absolutely. There were many positive reviews which were rightly deserved, but for me it’s probably better than the hype which can sometimes be based on some hastily included over-stated words which are overtaken by tomorrow’s review of another artist. Whereas, The Sideshows continue to dominate my listening (alongside my daily infusion of Bruce) and ain’t going anywhere soon. It’s a bit like the ‘winner stays on’ wrestler throwing all comers out of the ring. Not the mass arena and TV style of wrestling which owes as much to acting and pantomime as sport, but the wrestling shown here in the U.K. in the 70’s on ITV on a Saturday afternoon when we were kids and wrestlers such as Giant Haystacks, Big Daddy and Mick McManus, wearing leotards or speedos, threw others out of the ring and maintained their place (and we destroyed our or our friends’ Mums’ living rooms replicating the action on TV). That’s the type of album that The Sideshows have produced. Let’s see if that gets used for PR purposes! For anyone looking for a simpler description, how about “almost perfect fast, melodic and soaring punky rock’n’roll played by pros”. Or as Yoda might say, “Brilliant, this is”. Enough prattling … on to the music. Starting with the punk and rock pedigrees, they don’t come much more experienced than this - Sami Yaffa (Hanoi Rocks, Joan Jett, New York Dolls, Michael Monroe and two unexpectedly superb solo albums), Rich Ragany, while not a household name, one of the most respected singers on the thriving power pop and punk scene for so long dominated by The Wildhearts and their off-shoots (solo artist, The Loyalties, Role Models and Rich Ragany & the Digressions) and Simon Maxwell (Yo-Yos, The Loyalties , Role Models and most of Rich’s projects). Simple straightforward three piece of guitar, bass and drums, and based on songs initially written by Rich and then fleshed out and developed by the three of them in Sami’s studio in Mallorca. Album opener and first single ‘Brand New’ introduced the world to The Sideshows back in November and created much anticipation. Fast, frenetic, melodic and trashy, ‘Brand New’ is a massive song and statement of intent. Initially, I was also uncertain if Rich or Sami was singing lead vocals as the vocal style on this song was quite different and reminded me of PIL-era John Lydon before going into more melodic territory. Released with it was ‘The Start’ a song which, beginning with atmospheric guitar over a rumbling descending bass line, is deserving of its own Goth dance before switching from dark to light with soaring sing out loud chorus. However, as good as these were, I was initially a slow-burner with The Sideshows and it took hearing both on the album in their rightful places for them to fully click. And I love them. I know, I’m an old fart and still prefer listening to albums in their entirety and in the order intended than listening to songs in playlists. ‘Brand New’ is followed on the album by ‘We’re Such a Shame’. Urgent, insistent and multi-chorused, it’s also the first song on the album to make me wonder if Rich has some unfinished business with the Digressions who sadly disbanded after releasing three pretty wonderful albums which were amongst my favourite new albums in the last few years. ‘I Feel It’ captures the raw power of The Stooges before the glorious ‘Say Goodbye On a Night Like This’ which is the most Digressions-like song on the album and on which you can almost feel the heat of the Mallorcan sun as they throw open the windows in the studio. And for those who appreciate magical moments in songs which unexpectedly elevate them from good to great, look no further than what I think are Sami’s backing vocals adding “a night like this” in the closing bars of the song. ‘This Could Be Everything’ is one of those songs whose mainly bass and drum openings is so simple and effective you want to keep going back to the start, and with yet another soaring melodic chorus rising above. As a reviewer you can find yourself looking for other words to use to avoid repetition. But sometimes you just need to say it as is and soaring, melodic choruses above fast rock’n’roll / punk are such a feature of Rags’ songwriting that they’re hard to ignore. ‘Rock’n’Roll Owes Me An Apology’ picks up the pace before the need for a new Goth dance to be created is highlighted again by the start of ‘The Start’. The melodic choruses, harmony and backing vocals (what else did you expect?) continue in the more mid-paced and alt-pop leaning ‘Smoke Show’ and the more urgent ‘Our Love in the Shadows’. Closing the album is Rich’s heartfelt tribute to his late friend Scott Sorry who tragically died last year. Known to music fans for playing in The Wildhearts and Sorry and the Sinatras, Scott and Rich were close friends who in addition to having shared a life in music (good and bad) had autistic sons and shared this familial experience and were there for each other when times were hard. Despite the sad nature the song musically remains upbeat with another sing out loud chorus, but this time mixing melody and melancholy. For those of us who’ve been part of the respective musical careers of Sami Yaffa and Rich Ragany, this was a collaboration which has caused genuine excitement and anticipation. Add in Simon Maxwell from the legendary Yo-Yo’s (and Rich’s regular collaborator since) and things get even more interesting; not so much a super group as a collaboration of equals. I’m not a huge sports fan, but am aware of ‘Fantasy Football’; if there was a ‘Fantasy Rock/Punk’ The Sideshows would be up there. And as for the “almost perfect” in my comment earlier? Very few albums are perfect and also I’d loved the mix of sounds on Sami’s two solo albums and in particular the ska and reggae influences and skanking. I’d wondered if beneath the more familiar glam/punk bass playing surface was a Rude Boy waiting to get out and if we might get some skanking in The Sideshows. While this sadly didn’t happen, I was interested to see that since the release of The Sideshows’ album Sami has released another solo project, ‘Dubhuman’, with his long-time friend Janne Haavisto under the names of Captain Yaffacake and Brother Shubie. Described as an experimental dub and reggae album and completely different to how we’ve heard him before, this reached Number 6 in the charts in Finland. Maybe I wasn’t so wrong after all and we might get some skanking next time. Great stuff, gents. GMcA

Following from an extremely successful 2025 and a very busy 2026, 6x Platinum and 8x Gold-certified, record-breaking Finnish rock outfit The Rasmus are thrilled to announce an extensive headline European and UK tour in 2027, with Skarlett Riot as special guest on all the UK shows. With a global touring experience spanning decades, the 23-date tour will allow the band to further showcase key tracks from the new record Weirdo, as well as classic hymns and hidden gems taken from their catalogue. Frontman Lauri Ylönen comments: “‘Weirdo’ album has resonated deeply in our fanbase. It’s about being accepted the way you are. This has also been visible at the live shows as the fans have been dressed up to show their inner weirdos. It’s been a very fun and uniting feeling!” Lauri also adds: “We can’t wait to see all our dear friends who me missed the last time we toured Europe!” Over the past year and throughout the current one, The Rasmus have brought and will continue to bring their latest record Weirdo on the road, taking their unforgettable stage show to audiences worldwide. Last summer The Rasmus played a charity concert in Ukraine, not only as the headliner of the Atlas Festival , but also as the only foreign artist at the event. Over 110,000 people were in attendance, and there was a comprehensive security system and evacuation plan for the audience and performers in just a few minutes if it was necessary. Thankfully the festival went off without any issues and they were able to raise over $2.5 million Ukraine’s air defenses. Here is a short documentary about the experience . Currently on tour in the US, The Rasmus will come back to the old continent to join the European summer festival circuit, performing at: Nova Rock (AT), Resurrection Fest (ES), Masters Of Rock (CZ) to name a few. Later in 2026 the band will embark on a full South American tour playing iconic venues in 11 cities, including: Bogotá, Panamá, Lima, Santiago, São Paolo and Buenos Aires.

OUT SEPTEMBER 4, 2026 VIA FRONTIERS MUSIC SRL

Set for Release on August 28th via Frontiers Music Srl

As I cruise through my mid-40s and find that I’m now closer to 50 (albeit just!), I’m delighted to say that I’m still excited and enthralled to hear the crunch of power chords in heavy metal, the shredding guitar solos in hard rock and of course, the sentimental highs elicited from a worthy rock power ballad! Writing for Rockfiend, it would be worrying if I was straying from the genres that make up most of the soundtrack to my life! But there is definitely a mellower side to me in middle age and musically, I find that the soothing tones of country music is increasingly becoming my guilty pleasure. Perhaps it’s being brought up in a house full of Glen Campbell, John Denver and Bobby Goldsboro records. It could be that Mrs Griffiths loves the music and as a dutiful husband I have to indulge her likes and passions on occasion. Or maybe it’s because country really is the new rock n roll!  Judging by the almost sold-out crowd at Glasgow’s SEC Armadillo on a Monday night to see country star Carly Pearce on her Inside the Dream tour, Scotland continues its tradition as being a country mad…er… country! Hordes of ticket holder were truly into the spirit of the event with the venue awash with Stetsons, tassels and cowgirl boots. Even Mrs Griffiths wore her cowgirl boots whilst I dug out a denim jacket to keep up the western theme! This was the second time I had seen Carly Pearce live having seen her in Glasgow last year. I was back for more, this time in a bigger venue which can often take the edge away from an artist, so I was interested to see how the night of music next to the River Clyde would pan out. Before the main act, the support slot was filled by sister duo Tigirlily Gold (apparently pronounced Tie-Girl-Lilly), playing an acoustic set to the Glasgow audience. With an album already under their rhinestone adorned belts, as well as having previously played in the city at the nearby Hydro Arena at Country 2 Country in 2024, many in the crowd were already aware of their music and stood up clapping and singing along throughout. It was a half hour set of radio-friendly polished country-pop that brought a real feel-good vibe to proceedings and as well as their own songs, included an innovative part where the audience could help to pick a cover song from a choice of three by voting via the Set.Live website. I believe the winner was a song by The Chicks. I fear that may have been the only person who voted for ‘Hold On’ by Wilson Phillips! I’m sure this won’t be the last time that the sisters will appear in Glasgow and they’ll see a decent crowd if they ever tour here as a headliner. Plus… I now know who Leroy is and why he’s a bad, bad man! Kentucky-born Carly Pearce arrived on stage to a rapturous welcome that was akin to a homecoming! Well… there is a Glasgow in Kentucky, so it kind of is! With a minimalist stage set of seven large spotlight lamps and country fair-style bulb string lights above, she started the set with a brand-new song, ‘How Long’. With a sludgy, swampy guitar riff, you could almost smell the Cumberland River in country’s Tennessee heartland, with a driving-rock vibe that is perhaps a tad heavier than some of the singer’s more established songs. This hard rock and metal writer was immediately hooked and if the yet unreleased new album sounds anything like this, we’re in for a treat! The catchy ‘Rock Paper Scissors’ from the Hummingbird album and the wonderful ‘Next Girl’ followed and by that point, Pearce had the audience in the palm of hands. The laidback sound of ‘Should’ve Known Better’, the oh-so-wonderful yet heartbreakingly sad ‘We Don’t Fight Anymore’ (originally recorded with Chris Stapleton after Pearce messaged his wife on Instagram to persuade him!) and the melodic beauty of the chorus to ‘Never Wanted to be that Girl’ completed a trio of top country ballads that led to a surprise cover of the Fleetwood Mac song ‘Dreams’, with the Glasgow choir in full voice at the chorus. ‘Fault Line’ led to a… well… fault, when the sound died midway through. Unfazed, the Glasgow choir reassembled to help Pearce finish the song before a flurry of activity by the stage crew as they desperately tried to work out what had gone wrong. Being a consummate professional, the singer chose not to leave the stage, instead taking time to speak to some young fans from the edge of the stage. But of course, that turned into an impromptu meet and greet with half of Glasgow for around 15 minutes. Bravo, Carly! Bravo! It’s great to see someone who appreciates their fans. To loud applause, the show started again with a piano-led rendition of ‘Every Little Thing’ and another tearful country ballad, ‘If I Don’t Leave I’m Gonna Stay’, a recently released track with Riley Green. Before playing ‘Church Girl’, there was an immensely profound moment where Peace proclaimed her faith and expressed her thanks to God for her career, explaining that she genuinely believes that Jesus Christ is there for each and every one of us. I’ve never been a fan of mixing politics or religion with music or when artists virtue signal from the stage, even though I have my own faith. But when it is expressed in such a stark and honest manner, without preaching or forcing beliefs onto others, it can have a very strong impact. It was pleasing to hear a few claps of support and no moans or groans from those who don’t share her beliefs. It was a simple moment of sharing something intimate with fans, whilst pushing the point that some religious people (and non-religious people) can be incredibly judgemental and that it’s important to rise above the noise and be who you are. It’s pretty much the lyrical message of ‘Church Girl’ and an important life lesson, irrespective of beliefs. ‘Truck on Fire’ raised the tempo, with women of all ages on their feet dancing around whilst another new track, ‘Same Circus’, was a take on Pearce’s own past experiences of relationships. ‘You Can Have Him’ and another newbie, ‘Dream Come True’ led to main set closer ‘I Hope You’re Happy Now’, with the whole venue standing and singing along. An encore of ‘Happy for Myself’ and the brilliant ‘What He Didn’t Do’ brought the evening to a close, with Pearce taking a well-deserved bow with her band of “four big brothers”. What an evening it was! Carly Pearce is a true talent in country music. Her faultless voice and undeniable songwriting skills have a knack of burrowing into the souls of her audience because she sings about real life and things people can relate to. Pearce herself noted that every time she returns to Glasgow, the venues get bigger, so perhaps she’ll be moving a few hundred yards to the Hydro Arena the next time she’s in town! It was special night of songs about breakups, heartbreak, shame, alcohol, trucks, fun times and God and Jesus thrown in for good measure! It’s what country music should be like and it was a privilege to witness such a special performance. Carly Pearce completes her UK Tour with dates in Belfast and Dublin (I know… it’s Ireland!) before heading back to United States for dates throughout the summer.

TORONTO, CANADA (May 15, 2026) -- Crimson Glory recently released their brand new album “Chasing The Hydra”, the first new album in over 26 years. For fans who demand the highest quality audio for their music, CHASING THE HYDRA is now available as a 24 bit hi res audio download on Bandcamp at https://bravewordsrecords.bandcamp.com Crimson Glory shared their thoughts on the response to the new album, “Greetings to Crimson Glory fans around the world, whom we affectionately refer to as, ‘The Crimson Militia.’ Right now we'd like to take a second to say just how floored we are at the reactions to our brand new record, Chasing the Hydra, our first in 2.5 decades. It should be known that one of the goals in making our comeback album was to bridge the gap, so-to-speak, between both our debut and the followup, Transcendence, and our new record. We've learned throughout the years that albums 1 & 2 were the top picks according to you guys, the fans. For this reason, along with a simmering yearning to go back to our roots, it was important for us to accomplish that goal. Just sayin', we are honored by all the very positive feedback, which of course will drive us to bring it even harder live! We will see YOU on tour! \m/“ “Chasing The Hydra” is currently charting at #3 on Sentinel Daily’s Top 30 Album Chart. 

OUT JUNE 12, 2026 VIA FRONTIERS MUSIC SRL

It's rather refreshing to see a group of Jethro Tull's magnitude in a provincial, seaside theatre. A fair few heritage acts are bypassing the Eastbourne's of the planet to merely focus on main cities. Even though it's a Saturday, the town itself if pretty quiet. I guess most of them were gearing up to this evening's show, as the venue is very nearly sold out. The gig starts with a pre-record of Ian Anderson very politely asking us to not take photos or videos until the last song. A Squirrel on the video presentation also echoes those thoughts. You can't argue with that..... "It's 1968!", Ian says, as he appears with Guitarist Jack Clark (who impresses very much this evening) to float into the opening song, "Some Day The Sun Won't Shine For You". A lovely arrangement on this. Two more from their debut album, "This Was" come right on after. "Beggar's Farm", and "A Song For Jeffrey". The latter has a wonderful hook to it. It's also introduced on video by none other than Jeffrey Hammond-Hammond, who the song was written for. It's only a few year's leap to the next song, though stylistically, it's a hop, skip and a jump into a truncated version of "Thick As A Brick". Originally straddling the full two sides of an LP, it must have been quite a task to edit it down and make it sound this effective. "Mother Goose" from "Aqualung" is hot on it's heels, from very much the same era. By the mid area of the first half of the first set, and the arrival of "Songs From The Wood", the versatility and variety of Tull has already been firmly on display. Progressive, Classical, Jazz, Rock, and the musical kitchen sink are all in the recipe. John O'Hara (Keyboards), and David Goodier (Bass), have been Tull members for 20 years apiece, next year. With Drummer Scott Hammond celebrating 10 years with the group next year, the longevity of the majority of the line-up is evident through the smooth and massively impressive performances. The last few years have seen a cavalcade of new music from the pen of Ian Anderson, with three new studio albums appearing in as many years:- "The Zealot Gene", "Rokflote" (sorry, I couldn't get the Umlauts to work on my keyboard!), and "Curious Ruminant", from last year. "The Navigators" from "Rokflote", shows that Ian has lost none of his spark, with wonderful melodies flowing. The title track of "Curious Ruminant" whacks the point home with regard to recent output, prior to whizzing back through the years for "Living In The Past" and "Bouree" Set Two fires off with "My God", another gem from "Aqualung", giving way immediately to the recent past with "The Zealot Gene". Whenever two separate phases of Tull's career follow each other this evening, they do so in a seamless fashion. "Progressive" is a word that suits them perfectly. "Budapest" is a scarce dip into the 1980's (as far as this evening is concerned, anyway). "Aqualung" closes out the show, with some wonderful improv. A short interlude, and then "Locomotive Breath" proves the perfect encore. I have no idea where Ian Anderson keeps finding his inspiration and song writing skills from, though they keep appearing, and in the finest of fashions. Many superlatives have been aimed at Tull over a period of many years, and this evening once more proves that they are all justified. An eccentric, much-loved, wonderfully unique and musically pre-eminent group. Here's to the 60th Anniversary in just over a year or so.

BOW DOWN. SAY "MOTHER". Forged in chaos and cemented in rage, MOTHER creates music for those who live loudly on the inside - the overthinkers, the romantics, the rage-filled softies, the neurodivergent, the ones who feel everything all at once and never quite fit the mould. Drawing from metalcore, industrial and electronic, MOTHER 's sound prioritises feeling over genre. For fans of Bad Omens, Spiritbox, and Evanescence, MOTHER 's debut single ' Unholy ' is now yours. With a music video dripping in sin and salvation, you're not just listening - you belong. On the conception of the track, MOTHER shares: "When I wrote 'Unholy', I was drowning quietly. Every part of my life felt as though it was rotting at the edges — relationships, mental health, identity, survival. I couldn’t tell whether the voice inside me wanted salvation or self-destruction anymore. I only knew some part of me wanted to disappear. The emptiness, the fractured sense of identity, the feeling of becoming a stranger inside your own body. There’s a grief within 'Unholy' that mourns a version of myself I’m not even sure ever truly existed. That’s the cruelty of BPD and dissociation — you begin to question your own memories, your own emotions, your own reflection." On the video, MOTHER continues: "The video embodies all of this emotionally, but it also represents transformation and the conjuring of inner strength. By the end, there is a shift from fragility into power — a dark power — the birth of Mother emerging from the wreckage of everything that came before. Not because the pain vanished, but because enduring it transformed me into something else entirely. If you hear your pain reflected within it, then the song fulfilled its purpose.”

SET FOR RELEASE JULY 31, 2026 VIA FRONTIERS MUSIC SRL

When guitarist and singer Andrew Knightley moved out of London and into the Chiltern Hills, he found inspiration in the birds that circled overhead. To him, the Red Kites represented freedom, a freedom that Knightley has endeavoured to carry into his music making. Sticking with the power trio format of his previous band (that’s Trident Waters, in case you were wondering), AK and the Red Kites serve up similarly grooving blues influenced riffs, but draw from a broader palette across the eleven tracks that make up debut album ‘Hotter Than The Sun’. Leaning into catchy melodies and memorable choruses, there’s an immediacy to the tracks here, a warmth indebted to Knightley’s voice which is at times reminiscent of Chris Cornell. But credit also to drummer Ash Sims and bassist Rob Hoey, who inject plenty of stomp and swagger throughout, ensuring that the likes of ‘Born to Lose’ and ‘Pearl’s Before Swine’ invite you to get up and move. ‘Karmic Rituals’ is dominated by a spectacular, juddering riff so addictive that you’ll find yourself going back for more. The title track is similarly hypnotic, a lust fuelled celebration of an enchanting woman that’s heavy on the wah pedal and heavier on desire, Knightley occasionally lowering his voice to almost a primal growl. It’s a technique he utilises again on ‘Trouble Again’, a song marked with attitude and slinky guitar prowess. ‘Sierra Starlight’ demonstrates restraint, the swampy, Southern styling quite different to the rest of the album but just as absorbing. Some of the best albums are the ones where it feels that every track has the potential to be a single, and that’s certainly the case here. ‘Stronger’ is particularly, er, strong, the uplifting sentiment of the chorus surely very effective on stage. ‘Hotter Than the Sun’ is out now. Come and feel the heat.