Latest Rock News - Album & Live Reviews

FRONTIERS MUSIC SRL ANNOUNCES SIGNING OF NELSON 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…

Last night’s Yungblud show at Livehouse Dundee proved exactly why intimate venues can create some of the most unforgettable live music experiences. From the moment the doors opened, there was a buzz in the air and the venue itself set the perfect tone. Livehouse strikes that rare balance: close enough to feel personal, yet electric enough to carry the full force of a high energy performance. Yungblud (Dominic Harrison) did not disappoint. Bursting onto the stage with his signature charisma, he delivered a set packed with raw energy, emotion, and his trademark cheeky personality. Every movement, every lyric felt intentional and connected, as if he was performing not just for the crowd, but with them. A standout throughout the night was guitarist Adam Warrington, whose performance was nothing short of exceptional. His playing added depth and power to the set, complementing Yungblud’s dynamic stage presence perfectly. The crowd reached another level during “Funeral,” with fans singing every word back at full volume, creating a moment that felt almost cathartic. His cover of “Changes” was equally memorable, stripped with emotion yet still carrying that unmistakable Yungblud edge. But what truly set the night apart came after the final note. In a move that speaks volumes about his character, Yungblud invited fans to meet him by his tour bus in the Livehouse car park. Stepping out to greet them, he took the time to chat, sign autographs, and pose for photos, clearly in no rush to leave. It was a genuine, heartfelt interaction that showed just how much he values his fanbase. In an industry where that level of connection can sometimes feel rare, Yungblud stands out as a truly humble and authentic artist. Last night wasn’t just a gig, it was a reminder of the power of live music and the importance of staying real.

Two nights ago in a change to mostly going to Edinburgh or Glasgow for gigs, I found myself in Dundee for the Dead Bars’ only Scottish date on their U.K. tour. And two days later I’m still trying to process what I saw, heard, experienced and felt. Last year I wrote a review for Rockfiend of the Dead Bars’ latest album, ‘All Dead Bars Go To Heaven’, in which I wrote “give them a listen and the Dead Bars might just be one of the best bands you’ve not yet heard of”. I meant this respectfully and as a reflection of how much the Dead Bars appear to have gone under the radar of the music press in the U.K. There could be a number of reasons for this - they’re a small band from Seattle without big label or management backing; they can get labelled as punk, but there are differences between US and U.K. punk, and their sound is not easily categorised owing as much to The Replacements, early Soul Asylum, the Neil Young t-shirt worn onstage tonight by their bass player, Oddo, or to grunge as punk. Equally, their short (2 minute) raw, fuzzy and melodic songs may not be viewed as a straight sell to a rock audience. Arriving at the venue, I stopped to speak to John and CJ from the Dead Bars who were outside at the time and they appeared to be enjoying their tour so far. As I went inside there was a good-sized crowd for a Monday night - mostly punk fans and musicians ranging from their early 20’s through to original punks in their 60’s. It’s always good to see mixed ages at gigs, as when you’ve been going to watch live music for years, it’s all too easy for bands and the audience to age with you, but tonight the mix was really healthy. Anticipation was building as the local support acts (Bucky Bombs and David Delinquent) did their thing (more details at the foot of this review) and the Dead Bars’ stage time of 9.05pm approached. And then they were on. No changes into fancy stage clothes or regulation black - just the t-shirts, jeans, dungarees and plaid they had rocked up in. John, their singer, took up position front and centre flanked by the Dead Bars’ two guitarists (CJ and Elliot) on guitar, Rosie took her seat behind the drum kit at the back of the stage, with the sole concession to stage wear (shorts), and Oddo (bass) hovered in front of the drums. Opening the set with ‘Rain’ from their 2019 album ‘Regulars’, the Dead Bars launched into a blistering performance of 16 songs over the next 45-50 minutes. The bulk of the earlier part of the set was weighted towards the ‘Regulars’ album, although also featuring a few earlier and more recent songs including ‘Earplug Girl’ and ‘I Live Here Now’. A few songs in and I was absolutely hooked, as were others around me. Any concerns which I’d had that some of the melody captured in a studio may be lost by playing fast and loud live and through a sound system which may be beyond their control were completely dispelled as the wall of sound that is the Dead Bars live engulfed us - loud, fast, intense and melodic. Of an age when I no longer feel the need to be down front, I started off watching them from the bar down one side of the gig room, but within a few songs I was drawn forward towards the front and then to the side of the stage where I was as close to them playing as it was possible to be without joining them awkwardly on stage as I was immersed in their music. From my vantage point I could have mopped CJ’s brow if he had asked; he didn’t, nor did I offer, but you might get the picture of how close I was. ‘Valentine Heart’ heralded the first of a wonderful trio of songs from ‘All Dead Bars Go To Heaven’ ending with the looping and rolling ‘Give the Metalhead a Hug’ complete with audience vocal participation. During these songs, as throughout the gig, I was struck by how happy Rosie looked - smiling broadly while laying down the rhythm with Oddo in front of her and beneath CJ and Elliot’s twin guitars; despite the pace, their individual and collective playing and performances looked effortless, chilled and relaxed. In contrast, John paced the stage covering every inch and spending as much time as he could leaning into or above the crowd or, as he did on several occasions, joining the crowd on the floor and jumping in huddles with them, all the time singing his heart out. In John (Maiello), the Dead Bars have one of most captivating singers and frontmen that I’ve seen in a long time - bringing and then leaving every ounce of his soul on stage. Heading into the final third of the gig, the Dead Bars played their latest single, ‘You Look Like A Smoker’. Released just a few weeks ago, this has already taken up permanent residency in my brain. At 2 minutes 16 seconds it doesn’t have an ounce of fat or unnecessary musical padding on it and with a vocal bridge of “give me your smoke, give me your fire” is designed for crowd participation. With an extra song thrown in as a request from David Delinquent, followed by the wonderful ‘Freaks’, and including another couple of songs from ‘All Dead Bars Go To Heaven’ the gig moved towards its close. No complaints about the length of the set, as it contained so much and both the band and audience were spent. And as the lights went up it was clear from the looks on faces that we’d all witnessed a special gig. To sum up, the Dead Bars are raw, energetic, fuzzy and melodic; and to paraphrase Neil Diamond … what a beautiful (make that glorious) noise. We could overthink this. Tonight, they played to a good-sized crowd of highly appreciative fans who knew who they were, but it was very much a punk audience and had been promoted as such, whereas as a band they defy labels, spread themselves across different genres and are deserving to be heard and seen by a much larger and wider audience. Are they punk, rock, garage, grungey? They’re probably all and none of these, as they straddle so many styles of music. If we continue to apply singular labels and to pigeonhole bands, the Dead Bars could struggle and reach a limited audience. But if we just recognise and love them for who and what they are, much wider success is deserved. Just don’t change what you’re doing. Would I go and see them again or recommend them to others? Absolutely, in a heartbeat. And if you can’t see them live, check them out online or buy their albums. SETLIST Rain Sinkhole I Live Here Now Earplug Girl I’m a Regular No tattoos Producto Valentine Heart Be Me Give the Metalhead a Hug You Look Like a Smoker Pink Drink Freaks Last Call I Wanna Be a Ghost Funhouse Monday Preceding the Dead Bars’ arrival on stage, local support was provided first by David Delinquent who entertained the crowd with his banter, guitar and songs including ‘Get Old, Get Dead’, ‘You’re So Boring, You Make Me Wanna Die’ and ‘Sharp Dressed Clown’ about his insufferable boss (polite version here to avoid getting the page jailed, but a much stronger description rhyming with a former British Formula 1 driver is worked into the lyrics of the song). Then main support was provided by the Bucky Bombs with their Fife inspired punk or “melodic nedcore” based on The Ramones, Buckfast and the Beach Boys with tunes including ‘Kelty Beach’, ‘Radios’ and I missed the title of a little ditty (not about Jack and Diane), but including the highly memorable lines of “Do you, Do you, Do you wanna go to the Krankies’ show? You broke my heart when you said no”. Great stuff. In addition to it being my first time of seeing the Dead Bars live, it was also my first time in the Beat Generator - a great small and friendly venue in the upstairs/top floor/loft of a building with walls festooned in album covers and posters; and which has developed a reputation on the punk circuit and wider, and will see acts as diverse as The Wildhearts and Beth Orton playing in coming months. I’ll happily be back. GMcA

With 8006 unopened e-mails on my phone, it can take something pretty special to catch my eye and an invitation to review an album comprised of former or current members of Hüsker Dü, Social Distortion and Soul Asylum did exactly that. ‘The Bridges That We Burn’ marks the latest and third album release from UltraBomb, the pedigree post-punk project created by former Hüsker Dü bass player, Greg Norton. With albums 1 and 2 delivered to much acclaim within noise circles, by Greg, Finny McConnell (The Mahones) on vocals and Jamie Oliver (U.K. Subs) on drums, the line-up has evolved further for album 3. While Greg has continued to provide the lynchpin, firstly, Derek O’Brien, the original drummer with Social Distortion, took over on drumming duties and then Ryan Smith (Soul Asylum) took over on vocals and guitar bringing us to the tantalising line-up which grabbed my attention. The addition of Ryan Smith, in particular, caught my eye as I last saw Soul Asylum on a co-headline tour of the U.K. in 2022 with Everclear, Everclear pulled out of the gig at short notice due to sickness and Ryan stepped in and played a very impressive solo support slot. This then led to me checking out his solo output and with the Melismatics. While containing many recognisable elements, ‘The Bridges That We Burn’ is so much more than the bastard lovechild of their illustrious punky pasts/presents and provides a powerful sound of UltraBomb’s own. Given the band’s connections with Minneapolis, lyrically the album is also very now and aims to cut through the noise. The highlights within are many. Album opener ‘Darwin Awards’ establishes both the album’s and new line-up’s credentials within a few notes, is fast and furious (what else?), melodic and with contrasting vocal styles including shouted backing vocals underpinning the more melodic lead vocal to great effect. Recorded, produced and mixed in Minneapolis by John Fields, it’s also striking from the outset how clear the separation in the mix is between the guitar, bass and drums giving each musician equal space and prominence. ‘Divert/Deflect’ continues the lyrical theme, changes the musical style and grinds its own identity with more of a call and response shouted chorus. ‘Artificial Stars’ marries the different musical styles holding together a searching guitar and soaring Soul Asylum-style melody before shouted raw vocals mix things up. Stretching the sound further, ‘Zombie Zeroes’ takes on the musical feel of a horror B movie if The Cramps or Misfits had played alt rock. Latest single ‘No Cap’ brings the distinctive styles together again, but this time alternating soaring melody with heads-down punk energy. And what can I say about ‘Sicko Rants’? Not released as one of the four singles, this is an absolute gem of a song which puts a smile on my face every time I hear it. Fast, frenetic, sing-song melodies with guitars, bass and drums everywhere. Listen a little deeper and as throughout this album this is used to deliver a more serious message. ‘The chopping ‘Checked Out’ and bass-driven ‘Look Forward in Anger’ thoroughly deserve their place as singles with yet more soaring choruses driven at pace by the trio. ‘BSS’ (or the Bullshit Song) initially feels like a musical in-joke to fill a space in recording, but grows with repeated listening and takes on its own life as a musical punk fairground ride calling out the subject of the song. Approaching the end of the album ‘Last Time’ is a song of many moods starting with high pitched ‘Doo-doo-doo-doo-doo-doos”, strutting through a Bowie-esque ‘Fame’-era sequence before punking and distorting up. Finally, ‘Mosquito Crucifixion’ closes the album with a glam rock infused slice of punk. As may be clear, there is a lot going on musically in this album with much to appeal to fans of the Foo Fighters and Queens of the Stone Age in addition to those of the parent bands (past and present) of the constituent members of UltraBomb. Fast, frenetic, melodic and powerful. ‘The Bridges That We Burn’ will be released on 1 May 2026 via DC-Jam Records / Virgin Music GMcA

Alt-pop punk rockers RiotWeekend are stoked to release their punchy and kinetic new single ‘Smile’ out now on all good digital platforms. “Smile draws on our heavier influences with big guitars, booming bass, a little synth as well as the soft and heavy contrasting vocals to represent both sadness and anger. It tells the story of someone going through a break up and trying to move on but feeling stuck in a rut. Seeing your ex find happiness with someone new and the pain that comes with it, wanting to be happy for them but also wanting to smash up their car windows.” It follows the poignant and reflective ‘Days In December’ and previous ‘Harry’, which was Photogroupie Video of The Week and coincides with the long awaited sophomore EP 'Table4Four’, available on CD/digital download now direct from the band HERE and all good digital platforms. ‘Harry’ received high praise from alternative show BSB TV hosts exclaiming “I really f****** like that, really unique, so much potential” and esteemed music commentator Eric Alper called it “fearless, and full of heart - just the way punk should be.” Opening up on the 4 tracks, “We’ve unapologetically drawn from our influences and created what we would love to hear if we were listening to it, you have to be into what you play as it’s a medium to connect with others.” Diving in further, “There’s the heavy fun and good time side of us, the deeper and softer and what we write about is relatable as it’s real and from our life experiences.” The band recorded, self-produced and mixed at Blackberry Studios Chichester with mastering expertly handled by the renowned Pete Maher (Jack White, Linkin Park, Liam Gallagher). Blending pop punk catchiness with hard hitting huge riffs and wide ranging soaring vocals, the Guildford UK based colourful quartet of Holly Nunn (lead vocals and bass), Tomma Moulard (guitars), Rab McGowan (guitars) and Salvatore Bertolone (drums) released their self-titled debut EP in 2022 which gained international and BBC Introducing airplay along with rave reviews including Pop-Punk Pizza Podcast enthusing “Energetic and exciting, if you enjoy grunge, punk, post-hardcore and emo influences, then you will definitely like them.” Drawing favourable comparisons to such party club night names as Green Day, Blink-182, Paramore, they deliver a kinetic and crowd engaging performance each time they hit the stage with them announced for eclectic award winning festivals Guilfest and Shynefest this summer. “We’re passionate about righting wrongs in the world, but certainly don’t take ourselves too seriously! We want to show everyone that you can have fun even with tragic situations. The songs we write are at times very personal and we hope that it can help or inspire people in their time of need but there’s also the funny weird side to us that likes to have a laugh!” With the new offering, they’re on a mission for all those that feel a misfit, left out or want to belong in their own personal identity no matter what. “We love hanging out, connecting, hearing and sharing experiences at shows - at ours or those we go to. We’re really excited to release what we’ve been honing and working on in our set, we took them into the studio and added some magic! We can't wait to give them to you and when you listen, then see us live you’ll be buzzing, would have made new friends and be grinning for days!” With emboldened enthusiasm and more escapades to be had, RiotWeekend may well be the new band that’s heading straight into your playlists to uplift and a live show you need to see.

Modern UK rock band with a retro infused vibe AK & The Red Kites are thrilled to announce the long awaited and anticipated debut album ‘Hotter Than The Sun’ for release May 8 on CD and 100 limited edition numbered and signed colour vinyl, available for pre-order now direct from the band HERE. Accompanying the unveiling is a double A-side singles release of the full tilt 80’s tinged rocker ‘Broken Love’ and jagged edged riff driven swirling ‘Karmic Rituals’ on all good digital platforms now. Frontman and guitarist Andrew Knightley compares the two tracks “Broken Love is a high tempo emotionally charged banger, life in the fast lane and sometimes things get away from you before you even notice. That brings Karmic Rituals which is probably the heaviest track on the album and as people our biggest prison is our own mind, it’s about breaking out!” Andrew dives into the 11 track collection “Each of the songs have their own personality and a story in its own right - the themes vary from track to track and there’s a lot that folks will be able to relate to but draw their own meanings from. I’ve written it to dynamically take the listener on a journey as it’s all too common now to cherry pick tracks, concentrating solely on the singles as the industry has changed so much.” He smiles at the gestation period, “I’m super excited for it to be released as it’s been in the making now for 2-3 years! It documents a period of my life where I eloped from the craziness of London to a slower pace of life in the Chiltern Hills where the Red Kites circle above which were an inspiration in my creativity and approach to life now.” Working with multi-platinum award-winning producer Mike Krompass (Everybody Loves An Outlaw, Steven Tyler, Smash Mouth) and recording at the previously UK based state of the art Base Culture studio has brought out what Andrew believes to be his best work to date “There’s a far more contemporary sound and we really focused on my vocal delivery taking precedence which I hadn’t done as much of in the past. I demoed all of the songs at home and refined them before recording, cutting the fat off and making the importance of the songs themselves precedential.” The debut EP ‘Proverbial Storm’ (2024), with the title track being a Classic Rock Magazine Track of The Week, showcased Knightley's eclectic range as a songwriter and musician bringing favorable comparisons in the vein of Rival Sons and Richie Kotzen; "A unique fusion of delta blues, country, and high-energy hard-edged rock." My Global Mind Magazine, "The whole thing is glorious." Maximum Volume Music. A previous single from the EP ‘Stronger’ (which also features on the album) was personally curated by Slash for his blues rock Spotify playlist and has amassed over a quarter of a million streams. As a live act the power trio of Andrew, Rob Hoey (bass) and Ash Sims (drums) have been called “a band that can light up a stage with both passion and precision”Jace Media Music with their impressive command enthusing all to catch them in action on tour and at festivals this year - Andrew has also joined and toured as the new frontman/guitarist with New Wave of Classic Rock favourites, The Dust Coda. Having been perched ready to soar, AK & The Red Kites are now taking flight and with Accidental Music Reviewer proclaiming “They are the new rock n’ roll saviours about to strut amongst the masses to convert them to the righteous path of heavily blues influenced rock n’ roll.” they may become your favourite new band. WATCH BROKEN LOVE

Following the electrifying kickoff of their extensive European tour and premier UK showing of their documentary "Hate & Hope", metal legends KREATOR are keeping the momentum alive with the release of a brand-new music video for 'Loyal To The Grave', the powerful closing track of their latest studio album, "Krushers Of The World". On the subject of the new video, frontman Mille Petrozza shares: "The video was inspired by the Movie 'The Crow' this time. I hope you enjoy our little journey into obscurity as much as we do.” Showcasing a different side of the band’s signature intensity, 'Loyal To The Grave' stands out as one of the album’s most memorable moments. Driven by a highly melodic approach and elevated by a soaring, anthemic chorus, the track captures both the aggression and emotional depth that have defined KREATOR’s enduring legacy. The accompanying video visually amplifies this spirit, blending striking performance footage with cinematic storytelling that underscores themes of loyalty, unity, and resilience. Currently tearing through Europe alongside Exodus, Carcass, and Nails, KREATOR have been delivering spectacular shows to fans across the continent. The tour continues through the end of April, cementing the band’s reputation as one of the most formidable live acts in metal. Looking ahead, KREATOR will take their explosive live show across the Atlantic this May, joining forces with Carcass and Cold Steel for a highly anticipated U.S. tour. With no signs of slowing down, 2026 is shaping up to be another landmark year for the band. Order "Krushers Of The World" HERE. Watch the video for 'Loyal To The Grave' HERE . Remaining headline EU tour dates: w/ special guests Carcass, Exodus and Nails: Tues 31st Mar - LU - Esch sur Alzette, Rockhall Weds 1st Apr - CH - Zurich, Halle 622 Fri 3rd Apr - NL - Den Bosch Mainstage Sat 4th Apr - DE - Essen, Grugahalle Sun 5th Apr - DE - Frankfurt am Main, Jahrhunderthalle Tues 7th Apr - IT - Milan, Alcatraz Wed 8th Apr - SI - Ljubljana, Media Center Thurs 9th Apr - AT - Vienna, Gasometer Fri 10th Apr - DE - Ludwigsburg, MHP Arena Sat 11th Apr - DE - Munich, Zenith Sun 12th Apr - CZ - Prague, Forum Karlin Mon 13th Apr - HU - Budapest, Barba Negra Wed 15th Apr - PL - Warsaw, Arena Torwar Fri 17th Apr - DE - Hamburg, Inselpark Arena Sat 18th Apr - DE - Berlin, Uber Eats Music Hall Mon 20th Apr - LV - Riga, Palladium Riga Tues 21st Apr - FI - Helsinki, Black Box Thu 23rd Apr - SE - Stockholm, Annexet Fri 24th Apr - NO - Oslo, Sentrum Scene Sat 25th Apr - DK - Copenhagen, Poolen Thur 21st May - US - Baltimore, Maryland Deathfest 2026

KING KRAKEN release their storming new rocker 'Call To War' on 17th April, and it's a riff riddled, power packed, full frontal assault on the senses which sees the band kicking their new campaign off in style! "Call to War is the first single king kraken have released since our second album last April, we’ve picked up where we left off with March of the Gods, the same kraken sound but with more focus, grit and determination! 'Call To War' is a blistering new track inspired by the chilling sci-fi classic The War of the Worlds by H.G.Wells. Packed with relentless energy, the song charges forward at full throttle with thunderous riffs and pounding rhythms, while gritty yet melodic vocals cut through the chaos like a rallying cry against an unstoppable invasion. 'Call To War' captures the tension and drama of humanity's fight for survival, delivering a fast-paced heavy anthem that feels both cinematic and ferocious-perfect for fans ready to march straight into the storm. 'Call to War' is the soundtrack to our Spring UK tour, this is your call to make it the sound of your spring as well." King Kraken is a four-piece Rock/Metal band from South Wales, UK. In April 2025 they released their second album, 'March of the Gods', which saw two of their singles, Hero and March of the Gods receive national airplay on Planet Rock and Kerrang Radio. The band received universally positive reviews for March of the Gods in the Rock and Metal press, including Kerrang! and a feature in Metal Hammer Magazine. The band has a seriously strong CV on the live circuit, playing numerous prestigious events across the UK including Bloodstock, Call of the Wild, Planet Rock’s Rockstock and a massive show in 2025’s Stonedead Festival. In December 2025 they were the first band to play the Bloodstock Winter Gathering event at the legendary KK’s Steel Mill in Wolverhampton. The band has played with some heavyweight artists including The Almighty, The Dead Daisies, Crobot, Phil Campbell and the Bastard Sons, Monster Truck, The Sweet, Geoff Tate and Crowbar. In 2026, King Kraken will be releasing new material having spent time in the studio with producer Romesh Dodangoda. They have a plethora of live shows booked, with a slot at Takedown Festival at Portsmouth Guildhall in April, a short tour with Fury in May, plus several other festivals include the opening slot at Steelhouse Festival in July. They follow that in August where they will play Chepstow Castle alongside with Phil Campbell and the Bastard Sons, Chris Holmes (WASP) and the Tygers of Pan Tang. With numerous events around the UK there is no sign of this train slowing down! KING KRAKEN are: Vocals - Mark Donoghue Guitars - Adam Healey Bass - Karl Meyer Drums - Richard Lee Mears 'Call To War' recorded at Long Wave Recording Studios, Cardiff Mixed and Mastered by Romesh Dodangoda Engineered by Romesh Dodangoda and Tom Cory Preorder here: https://distrokid.com/hyperfollow/kingkraken/call-to-war

Fast-rising South London rockers The Karma Effect have today confirmed a new 13-date UK headline tour for autumn 2026 in support of their eagerly-awaited forthcoming third album ‘Cruel Intentions,’ which is set for release on 15th May 2026 (via Earache Records). With just a handful of tickets now remaining for the band’s previously-announced album launch show at Tunbridge Wells Forum on 15th May, The Karma Effect are pleased to now announce a full UK headline tour for this autumn, ably supported by special guests Juliet’s Not Dead. Tickets are on-sale here for the band’s autumn 2026 ‘Cruel Intentions Album Tour’ – full list of dates is; THUR 29 OCT - THE CARLISLE - HASTINGS FRI 30 OCT - WATERFRONT STUDIO - NORWICH SAT 31 OCT - BOILEROOM - GUILDFORD SUN 01 NOV - PORTLAND ARMS - CAMBRIDGE THUR 05 NOV - BANNERMANS - EDINBURGH FRI 06 NOV - CLASSIC GRAND - GLASGOW SAT 07 NOV - BETA ROCK CITY - NOTTINGHAM SUN 08 NOV - THE PATRIOT - CRUMLIN THUR 12 NOV - WATERLOO MUSIC BAR - BLACKPOOL FRI 13 NOV - CORPORATION - SHEFFIELD THUR 26 NOV - KKS STEEL MILL - WOLVERHAMPTON FRI 27 NOV - WATER RATS - LONDON SAT 05 DEC - LEO'S RED LION - GRAVESEND TICKETS GO ON SALE AT 11AM TUES 31 MARCH The Karma Effect have also today announced further details of their highly-anticipated third album ‘Cruel Intentions’. The new record is available to pre-order now across a number of CD, vinyl & digital formats, all featuring eleven rollicking new anthems (with a twelfth track, ‘Chasing Sunsets,’ added to the exclusive USB bonus edition format) – tracklisting is; 01 Ride or Die 02 Dangerous Love 03 Lady Bohemian 04 Raised on Rock 'n' Roll 05 Bad Manners 06 Closest Thing to Crazy 07 Waiting on a Miracle 08 Better Luck Next Time 09 Long Gone 10 Cruel Intentions 11 One More for the Road 12 Chasing Sunsets (Bonus track - USB only) WATCH THE VIDEO FOR 'WAITING ON A MIRACLE' VIDEO HERE PRE-SAVE THE ALBUM 'CRUEL INTENTIONS' HERE  When The Karma Effect were quietly born in the pandemic, vocalist Henry Gottelier and guitarist Robbie Blake could hear in their heads how they wanted the project to sound. From their organic, rootsy, eponymously-titled 2022 debut, followed by 2024’s show-stopping surprise Top 20 album ‘Promised Land’, they now truly arrive with their third record, striding confidently into their role as one of British guitar music’s most exciting outfits. Although some line-up changes occurred in the background (which saw Nathan Keevil join them on bass, Alan Taylor on drums, and Tom Pitt on keys), a turn of events that could have left them on shaky ground has instead been spun into a silver lining. Brimming with energy and fresh perspectives, the newly assembled line-up convened at The Hive Rooms, in the locale of Gatwick Airport, to nail down what would become ‘Cruel Intentions’ in July 2025. The new album is a collection which captures the visceral atmosphere of the band’s lauded live performances and is without a doubt the most complete, crystal clear realisation of the band’s ambitions yet: leaner, louder, heavier and joyously larger-than-life. Exploring notions of love, lust and danger, with dark passion and flashes of cheekiness, The Karma Effect’s new songs maintain a fine balance of swagger and wit, further advancing the band’s ‘modern vintage’ ethic - polishing up the retro sounds they were raised on into something gleaming and modern. Take the swaggering recent single ‘Dangerous Love’ – “It’s about doing things you shouldn’t do, but you can’t stop yourself: passion overtaking your senses and your mind getting away from you,” explains Henry. Barnstorming opener ‘Ride Or Die’ is a weighty statement of intent, an early display of Gottelier’s classic ‘70s Stones meets 80’s Fairbairn-era Aerosmith songwriting chops, whilst the album’s title track ‘Cruel Intentions’, meanwhile, is about a stalker. It’s not entirely steeped in darkness, however – sometimes, there are flashes of cheekiness. ‘Better Luck Next Time’, for example, is a tongue-in-cheek meditation on feeling the sharp end of sod’s law, following someone’s day as it spirals into the stuff of farce. "This album is the culmination of everything we have." says singer Henry Gottelier. "While collaborating again with producer Michael Charman, we brought in Mercury and GRAMMY nominated Romesh Dodangoda specifically for the mix, because we were obsessed with making every single note count. The result is a sound so big, it’s a stadium experience for your ears" ‘Cruel Intentions’ is available to pre-order here on signed editions, limited alt artwork editions, limited coloured vinyl and more.

.IRON MAIDEN’S highly anticipated EDDFEST weekend this summer has just got even bigger with the announcement that Blaze Bayley, who fronted the band from 1994 to 1999, will be headlining the Friday night Maidenville stage. He is the latest name to be revealed, as part of the all-encompassing celebration of IRON MAIDEN’s 50th Anniversary that will be taking place on the iconic Knebworth site. “I’m so excited to be invited to headline Friday night at EDDFEST, celebrating 50 years of Iron Maiden,” says Blaze. “I am so proud of my two albums with the band and I'm really looking forward to playing some of the songs that we recorded together. Can't wait to see you all at the hallowed grounds of Knebworth!” Fans can expect to hear Blaze Bayley and his band deliver a powerful set of songs from The X Factor and Virtual XI, the albums he released during his time as Iron Maiden’s lead singer. Blaze co-wrote some of the songs on those albums with band founder Steve Harris, and Friday night’s Maidenville stage has been personally curated by Steve Harris to showcase many elements of his musical career. Steve has also invited Gypsy’s Kiss, the band he formed in 1974 with singer and guitarist, David Smith, to perform on the Maidenville stage on Friday night too. As the very first band Steve Harris ever played with they were an instrumental part of Steve’s journey to form Iron Maiden a year later and create one of the most iconic rock bands of all time. Steve Harris says, “Having the opportunity to put together our very own festival at Knebworth, and celebrate 50 years of Iron Maiden, has given me a chance to bring together friends past and present and create a really special weekend for the fans. I’m very pleased that Blaze is able to join us and perform some of the songs we wrote and recorded in the 90s. He has been a big part of Iron Maiden’s career and I know the fans will be really excited to see him on stage at EDDFEST. It’s also great to have Gypsy’s Kiss playing with us at Knebworth too. They were a big part of my musical heritage and it’s really exciting to have them play at the Maidenville stage.” FRIDAY NIGHT ON THE MAIDENVILLE SECOND STAGE BLAZE BAYLEY Stray Maiden United Airforce Gypsy’s Kiss Tony Moore’s Awake + Hair Metal Glamageddon SATURDAY NIGHT ON THE MAIN STAGE IRON MAIDEN THE DARKNESS The Hu Airbourne The Almighty EDDFEST is a once in a lifetime opportunity to experience what constitutes Iron Maiden’s idea of a fun-filled 48 hours of entertainment, themed areas and bars, experiences, live music and more. Inside EDDFEST fans will be able to explore the Infinite Dreams Museum Experience, a walk-through display of stage props and relics, inspired by Sunday Times Bestseller book Infinite Dreams. This is an unprecedented and completely unique opportunity to view Maiden relics up close and personal. The EDDFEST Festival starts from 2pm on Friday with camping included for both nights. Various parts of the Maidenville site will be open to weekend campers throughout Friday afternoon and into the early hours of Saturday morning, including the Infinite Dreams Museum Experience. Friday Night at Eddfest is all about fun before the big day. Campers will be able to gain early access to the site and experiences, including first access to the Infinite Dreams Museum Experience. They will also enjoy a whole evening of entertainment on the Maidenville stage featuring the unique mix of special acts with a connection to Maiden. Saturday sees the opening of the Main Arena, which includes Eddie’s Extended Emporium, the Trooper VIP area and a range of interactive experiences. Saturday-only tickets also allow access to Maidenville, where fans can join in the fun at the greatest Eddie’s Dive Bar yet, enjoy the Infinite Dreams Museum Experience, take part in the Unfair Funfair, featuring rides and demented Eddie-themed Funfair Games, plus explore Eddie’s Emporium, with even more surprises to explore throughout the site. It all culminates with the main stage performances on the Saturday, featuring an exceptional supporting line-up, ahead of Iron Maiden’s show-stopping RUN FOR YOUR LIVES performance. EDDFEST is going to be a truly exceptional weekend for each and every Maiden fan in attendance – an unforgettable chance to be part of a fully themed Festival experience, celebrating IRON MAIDEN’s spectacular fifty year career… and the last chance to see them in the UK until at least 2028.

Acclaimed singer, songwriter and front man of Christian rock icons Stryper, MICHAEL SWEET is proud to announce his new album, ‘The Master Plan,’ his most personal and spiritually resonant solo album yet. Set for release on April 3, 2026 via Frontiers Music Srl, this deeply worship inspired record marks a bold departure from his previous solo work — blending heartfelt devotion with fresh musical textures and melodic depth unlike anything SWEET has done before. MICHAEL SWEET comments: “I can’t tell you how long I’ve wanted to make this record. I think I subconsciously started making it when I was a kid. All the music that has influenced me over the years is revealing itself on this album. It’s certainly not cookie cutter by any stretch of the imagination. It’s one of a kind and very eclectic and unique, but that’s exactly what I wanted. It has something for everyone and I hope you all are as excited about this one as I am. The goal is to inspire and encourage and give people hope. I hope this one does just that. I want to personally thank you all for your patience and for your undying support for everything that I do. Much love to you all🙏” Musically rich and lyrically uplifting, ‘The Master Plan’ journeys into new acoustic oriented landscapes, built on warm harmonies, intimate vocal layers and heartfelt expressions of faith. SWEET’s unmistakable voice leads a tapestry of heartfelt worship, inviting listeners to reflect, celebrate and draw closer to the timeless truths at the heart of his message. With sweeping arrangements and a sincere spiritual core, the album offers both comfort and inspiration for moments of prayer, praise and quiet contemplation. Recorded with a stellar ensemble of musicians and co produced by MICHAEL SWEET and Jeff Savage, ‘The Master Plan’ also features lush keyboards, evocative guitar work and memorable vocal moments that elevate each song into something deeply personal yet universally uplifting. Mixed by Danny Bernini at Spirithouse Studios, the album balances polished production with the warmth of true worship expression. With its heartfelt lyrics and spiritual sincerity, ‘The Master Plan’ is designed to inspire peace, faith and encouragement — music that comforts the weary, uplifts the spirit, and celebrates the profound love at the center of SWEET’s faith journey. 'The Master Plan' Track List: 1. The Master Plan 2. Lord 3. Stronger 4. Eternally 5. You Lead I'll Follow 6. Desert Stream 7. Believer 8. Again 9. Faith 10. Worship You

German progressive metal pioneers Vanden Plas are back with “AcCult II”, a new acoustic album set for release on June 12, 2026, via Frontiers Music Srl. To coincide with the announcement, the single “Far Off Grace”, along with an official video, are available today. Andy Kuntz commented: “The single “Far Off Grace” exemplifies the unpretentious, pure, and at the same time artistic, multifaceted acoustic expression of all the songs on “AcCult II”. They say you can recognize a good song when it works even in a stripped-down version. Compared to the studio version first released in 1999, however, this interpretation opens up on top many new avenues of understanding”. “It allows the song's once bombastic beauty to blossom in the virtuosic interplay between Stephan Lill's exquisite guitar work, Alessandro Del Vecchio's shimmering grand piano, and Kuntz's vocals, ranging from sensitive to ecstatic – only to then be driven, by the unbridled power of an exceptional band with Andreas Lill on drums and Torsten Reichert on bass, to a hypnotically intensifying, furiously breathtaking finale”, he added. “This is far more than an acoustic version of a song; it is the ultimate reinvention of a classic in its own light.” Watch the official video for “Far Off Grace”

British rocker Chez Kane is thrilled to release her new studio album, titled “Reckless”, out now via Frontiers Music Srl. The focus track “Too Dangerous”, along with an official visualizer video, are also available now. Chez commented: “Too Dangerous” lives in that space between warning signs and temptation - it captures the tension at the heart of “Reckless”, where you know better, but it feels too good to resist.” Watch the official visualizer for “Too Dangerous” here - youtube.com/watch?v=zBY62k_x3n0&feature=youtu.be Order “Reckless” here - https://ffm.bio/recklesspreorder Talking about the record, Chez said: “Finally, I can tell you! The official announcement of my third album “Reckless” is here! My last album, “Powerzone” dropped in 2022, and I’ve grown a lot since then. This time around, I got hands-on and collaborated on some writing. I pushed myself hard to make something that’s bigger, bolder, and yeah… sexy as hell”. “Massive thank you to Danny Rexon once again for being incredible to work with. Creating this with you was magic”, she added. “I can't wait for you guys to hear what we’ve made!” Chez Kane is back with her third studio album, “Reckless” - an explosive blend of arena-ready hooks, slick guitar work, and unapologetic 80s-style swagger. Following the success of her first two records, Chez levels up with a collection that’s bigger in sound, richer in emotion, and packed with pure melodic firepower. Once again, written and produced by Danny Rexon, frontman of Swedish hard rockers Crazy Lixx, “Reckless” channels the golden age of melodic rock while injecting it with fresh energy and modern production. The chemistry between Chez and Danny continues to shine, resulting in a record that blends 80s-inspired anthems, infectious hooks, and soaring vocals into a modern rock statement with attitude. From glam-infused bangers to emotional slow-burners, “Reckless” showcases Chez’s growing confidence and undeniable charisma, proving she’s not just riding the revival wave - she’s leading it. If you’re craving fist-pumping choruses, soaring vocals, and a no-holds-barred throwback to the glory days of rock, look no further. Chez Kane’s “Reckless” is melodic rock done right - bold, catchy, and undeniably alive. Turn it up loud. This one’s recklessly unforgettable! “Reckless” Tracklist: 1. Reckless 2. Personal Rock N' Roll 3. Night Of Passion 4. Strip Me Down 5. Tongue Of Love 6. Love Tornado 7. Bad Girl 8. Street Survivor 9. Too Dangerous 10. Bodyrock

The rise of Dan Byrne has been the most remarkable rock & roll success story of the year so far, at an otherwise gloomy time for the rock scene. Since parting ways with Revival Black and going solo, the wee guy with the big voice has been singing for his supper all over the country and steadily building a loyal following. The last time he was in Edinburgh, it was at Sneaky Pete’s in front of 17 people, but now, with Planet Rock plugging the advance tracks from his forthcoming album ‘This is Where the Show Begins’, he’s been packing them in on a hot-ticket UK tour. This tour was originally booked in modestly-sized venues, but with increased airplay and the strategic addition of some great support bands, the “sold out” signs have been going up early. This Edinburgh show was upgraded to the main hall in The Voodoo Rooms and was still close to capacity and he also had a sold-out show at Glasgow’s Attic venue the following day to complete the now-rare Scottish double-header. Whilst Dan and his band lived up to the hype in every way, the addition of both Kit Trigg and Fireheart made this a very entertaining triple-bill. Kit is a bright and breezy young lad from Farnham with great hair and a backwards baseball cap and he made a few new friends with a varied, interesting and enjoyable set. ‘Snake in the Grass’ (“you can kiss my …”) ran through a variety of styles; starting with some swampy guitar, then moving through some on-point band harmonies to a skate-punky rhythm and some Kid Rock-style rapping. Mixing old, recent and brand new songs, highlights included ‘Light at the End of the Tunnel’, which raced along like an oncoming train with the headlights on, an anthemic glass ceiling- themed new song with a heavy groove that might have been called ‘Breaking Through’ (“just do it”), and the punchy ‘Goin’ for Glory’ which totally rocked and ended the set in fine style. Kit and his band have plenty live work planned, including festival appearances at Mayor’s Fest, SOS and Maid of Stone this year and are well worth checking out. Fireheart are a brand-new name but feature some familiar faces and they made a massive first impression with a gloriously energetic and skilled set. They absolutely exploded out of the blocks with the anthemic ‘Wild Hearts; Wild Nights’ which quickly grabbed the audience’s attention and wrapped them up with the “woah-ohs” and a clap-a-long in a thrilling ride. It was impossible not to be sucked in by the band’s enthusiasm, particularly Kev Baker and his gurning facial expressions – unless my granny was lying, he’s going to be fucked if the wind changes direction! Russ Grimmett was on great form on vocals. He also sings with Sons of Liberty but he is especially in his element with this band and seemed to be really enjoying himself. From the band’s bio and social media, it is clear that the individual members come with some emotional baggage, demons and mental health challenges. They address that in their songs and also through their fan chat group and initiatives like ‘Heartmeet’ which is a banner they place beside the table displaying their immaculately designed merchandise to encourage solo fans to interact with each other. I should imagine that the music is also very therapeutic, as this band rock up some absolutely joyous sounds with life-affirming positivity. Amongst others, they play tunes from their 5-track EP called ‘Rise’ and the songs on it are as good as its colourful art-work, including the soaring and harmonious ‘I’m Not Dreaming’ and ‘An Hour to Forget’. The inter-play between the men on stage is also heart-warming and highly entertaining, not least the musical tribute to hirsute and handsome bass player Bret Barnes, who is surely the logical successor to Chuck Norris in the ultimate legendary icon stakes. It is a while since a first-sighting of a new band has made such an instant impression on me and I am far from alone in thinking this. Fireheart feel like a movement as much as a band and their music is capable of putting a smile on any face. Edinburgh patrons will have another chance to see them on 23rd May at Bannerman’s supporting Cassidy Paris and we’ll be hearing much more from these fellas in the near future. Get on board. Dan Byrne had won before he even appeared on stage. Tickets had been sold and debut albums pre-ordered; the crowd were ready, and his band were already rocking up a storm by way of an intro. He opened with ‘Saviour’ and appropriately, he’s already being trumpeted as the new saviour of traditional blues rock in this country. He looks suitably messianic with his long curly hair and beard and sounds the part too, but things take a more demonic turn with the instant classic ‘She’s the Devil’ and the uber-funky ‘Praise Hell’. Other standouts include ‘Cherry and Leather’ and ‘Sober’ plus ‘Easier’ from his earlier ‘Beginnings’ EP. Between songs, Dan constantly refers back to his journey and expresses gratitude for the love and support he has received; it’s almost as if even he can’t quite believe that the struggle has turned out to be so worth it and he seems genuinely thrilled to have a big room full of people singing his songs back to him. He has certainly paid his dues and deserves every bit of acclaim that’s coming his way. With several of the prime cuts from ‘This is Where the Show Begins’ already well-known and popular from radio play, there’s a good chance that the album will chart highly when released on 22nd May. On that day, Dan will be back in Scotland for promo shows and signings at Assai Records in both Edinburgh and Glasgow. It will be fascinating to see what number the album charts at and after all the hard work and slogging around the country, album release day might just be the best day of Dan’s musical life so far.