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There was no question that Def Leppard delivered another brilliant show and sounding better than ever,  Glasgow lapped up every minute.

Hardwicke Circus Hardwicke Circus were first to take to the stage to a mostly-full auditorium. Hailing from Carlisle and managed by Dave Robinson (who previously managed Elvis Costello and co-founded Stiff Records) Hardwicke Circus have been developing a hard-working reputation which has seen them gigging around the U.K., Europe and Ukraine. Unmistakably retro in sound, equipment and image, they played a short, lively and committed set of original material including ‘Walking on Broken Glass’ and ‘Woman’. Providing their own take on 70’s ‘pub rock’, as made popular by Dr. Feelgood, Graham Parker and others, their sound also has elements of The Kinks, The Doors, Ian Dury and the Boomtown Rats in places. Straying furthest from this formula, but not too far, was ‘The Ballad of Oleksandr Usyk’ with the Fratellis’-influenced ‘da-da-da-da’ chorus aimed at and succeeding in creating a ‘ you don’t need to know any words’ communal crowd sing-along. While playing as a six-piece, it would be hard not to single out Johnny Foster, on vocals and guitar, who is a compelling front man with what appeared to be effortless and natural stage presence - definitely one to watch now and a potential star of the future. Chris Difford Providing the main support was Chris Difford - one half of the main songwriting partnership behind and within Squeeze. Playing a solo set on acoustic guitar and accompanied by the excellent Melvyn Duffy (who it would probably be easier to list who he hasn’t played with) on pedal steel and electric guitar, Chris also displayed a very dry and self-deprecating sense of humour which had the audience in tears of laughter and could easily have been classed as stand-up comedy of a level people would pay to hear as just banter between songs. Introducing his set by saying he’d been allowed out of his care home for the evening and that he recognised some in the audience from there and the bus ride over, he treated the highly-appreciative Glasgow audience to a trip through Squeeze’s hits, of which there are many, and from his solo career - ‘Take Me I’m Yours’, ‘Up The Junction’, ‘Pulling Mussels (from the shell)’, ‘Labelled With Love’, ‘Tempted’ and ‘Cool for Cats’. If you grew up in the U.K. in the “80’s, it doesn’t matter how much of a rock or metal fan you were, you know the songs, you know the words, we all do. Interspersed after every second or third song was more banter mostly all linked by a common thread - about how many bands he met in their early days about whom he felt something was “a bit shit” (a song, the band name), but who all ended up playing at Wembley while Squeeze were still only playing their local pub on a Council estate. Chris also appeared genuinely surprised and moved by how much the audience was singing along to his songs - almost word for word to most of the set. But he also couldn’t resist winding up those who were singing (mostly quietly and gently, mainly female and of an age to have been fans in the 80’s) by saying that he was getting a “semi” and that it sounded like the wartime spirit during the blitz … only here the communal singing wasn’t of Vera Lynn’s songs, but those of one of our greatest pop songwriters. An absolute gem of a set. Hat doffed. Glass raised etc etc. Without any risk of hyperbole or over-statement one of the best support slots that I’ve seen, ever. Wonderful stuff. And if you ever see him touring with this do what it takes - sell the house/your arm/dog - just get a ticket. Elvis Costello & the Imposters (with Charlie Sexton) So, how do you follow that? Not easy and many artists wouldn’t have taken the risk of being upstaged and touring with such a strong act as the main support. But when you’ve both known each other for years and have a catalogue of hits and deep cuts that most other artists couldn’t dream of (as Elvis Costello has) you just do your thing, as he’s being throughout his career and I hope he’ll continue to do. Straddling genres - pop, punk, power pop, new wave, rock, jazz, singer/songwriter, movie soundtracks and many more. Tonight’s gig had been promoted as being by ‘Elvis Costello & the Imposters with Charlie Sexton’. While the Imposters have been playing with Elvis for about 25 years (with Steve Nieve on keyboards, Davey Faragher on bass and Pete Thomas on drums) and Steve and Pete also played in the Attractions before then, it was clear the respect that Elvis gives to Charlie Sexton who has joined this tour on guitar, having played in Bob Dylan’s band for years and offering a further dimension in sound. Billed as the ‘Radio Soul! The Early Songs of Elvis Costello’ tour, the gig promised much and didn’t disappoint with a strong focus on his earlier albums. Bursting into life, the band opened with ‘You Belong To Me’ and ‘Mystery Dance’. Being honest, the sound wasn’t great at the start, which it should have been given the acoustics in the purpose-built concert hall, but Elvis’s vocals were quite low in the mix, with the keyboards dominating and the guitars fighting for space. I did wonder if they’d sound-checked earlier, but the sound improved as the gig progressed. Sitting in the circle, we had a great view from above as the band filled their spaces. At one side of the stage Steve stood at the centre of keyboards arranged in a square around him in the style favoured by many prog bands, gliding from one to the other and back again as a master of keyboard wizardry as Charlie Sexton prowled the other side of the stage with his guitars and looking like a cross between Keith Richards and Dave Vanian. Behind them Pete powered away on the drums as Davey held things down on the bass, with Elvis fronting and co-ordinating his band of musicians and frequently changing position around stage. They are such a gifted group of musicians that at times there was so much going on musically the songs could have gone anywhere, but they kept their course. And big song after big song, they just kept coming - ‘Watching the Detectives’, ‘Little Triggers’, ‘Lover’s Walk’, I Can’t Stand Up For Falling Down’, ‘(I Don’t Want to go to) Chelsea’, ‘Pump It Up’, ‘Radio, Radio’, ‘Alison’ and ‘Oliver’s Army’. But the highlight of the gig for me was within the first half when Elvis rounded up his band members, ushered them across to Stage Right, swapped places with Steve and also his guitar for a piano. There then followed jaw-droppingly good renditions of Charlie Rich’s ‘Who Will the Next Fool Be’ and then ‘Everyday I Write the Book’. Forget we were in a 2500 seat concert hall. This was late night music delivered in a small club with all the feels. Goosebumps wouldn’t come close in describing it and in which the vocals and music were just sublime. Sadly, I had to leave before the end of the gig to get back through to the East and a big day at work the next day. As I drove back along the M8 with sounds of the gig still going through my head I reflected that it’s nights like this which keep me going to see and hear live music. Simply brilliant. GMcA 

I should start this review with a disclaimer of sorts. Metallica is where it all started for me. I was 12 when I discovered the band following a recommendation from a slightly older “character” at the local youth club, when most peers were into the Britpop of Oasis, Blur, Manic Street Preachers etc. After hearing the Black Album for the first time and obsessing over every track for weeks, months and even years, I followed it up with purchases of Load and eventually Reload (much maligned, in my opinion!) when they were released before working my way back to the early days and the thrash of Kill ‘Em All, Ride the Lightning and the majestic Master of Puppets. My first band t-shirt was a Metallica one and my first music VHS (remember them?) was Cunning Stunts. I wore that tape out! I’ve seen them live twice before and, on both occasions, spoke about the shows to anyone who’d listen for weeks afterwards… whether they wanted to hear about it or not! Metallica started my journey into heavy music and have been a big part of my musical life for 33 years now. So, it’ll probably be difficult for me to write an objective review here! Unfortunately, due to work commitments and Glasgow City Council’s decision to have temporary traffic lights (with no apparent work ongoing!) only a few hundred yards from a sold-out Hampden, I missed opening acts Knocked Loose and Gojira. I usually make a point of arriving in time for support slots, as it’s an opportunity to find new bands and music… but I’d be lying if I said I was gutted to enter the stadium as the last muffled but loud notes of Gojira’s set echoed around the national stadium. That meant I had time to grab a quick drink before settling into my seat, which provided an excellent view of proceedings. Having my wife with me to enjoy her first Metallica live experience was also special, as their music was something she constantly had to hear in the teenage part of our relationship and has been ongoing in the 21 years of marriage since! There was something fitting about James Hetfield (vocals/guitar), Lars Ulrich (drums), Kirk Hammett (guitar) and Rob Trujillo (bass) entering the stadium to the strains of AC/DC’s ‘It’s a Long Way to the Top (If You Wanna Rock N Roll)’, as the Young brothers were born and brought up in Glasgow before emigrating to Australia and becoming the rock legends we all know and love. That was enough to get the excitement levels up but it was nothing compared to the noise when Metallica’s now legendary intro music, Ennio Morricone’s iconic ‘The Ecstasy of Gold’ from The Good, The Bad and The Ugly boomed through the massive sound system as clips from the movie played on the 8 huge stanchions of screens situated around the circular stage. Metallica were in town… and it was going to be immense! Opener ‘Creeping Death’ is 42 years old but in Glasgow, it sounded mightier and meatier than it ever did on the original recording, ageing in a live setting like a fine wine amped up to an ABV of 100%! Fists pumped in the air and fans young and old revelled as the metal masters commanded the audience from the outset. But that was nothing compared to the frenzy when the opening bars of ‘For Whom the Bell Tolls’ boomed through the stadium, with Kirk Hammett’s song-defining intro ditty causing a flurry of air guitar activity in the seats and a rush towards the stage in the standing area. ‘Hit the Lights’ went back to the very beginning of the band’s career, meaning the first three songs were taken from the first two albums from the early 1980s. Loud. Proud. Ageless. Thrash! ‘King Nothing’ from the previously mentioned, much maligned Load album brought us back to the more modern-age Metallica sound… although even that was now 30 years ago! The setlist was brought right up to date with ’72 Seasons’ from the most recent album of the same name, ensuring the opening 5 songs pretty much covered the band’s whole career so far; beginning, middle, current. The reason for their continued longevity was crystal clear! As stated in the opening paragraph, this writer cut his heavy metal teeth on The Black Album, so the intro to ‘The Unforgiven’ transported me straight back to my bedroom in my parent’s house, going through an always-dressed-in-black stage (which I’m now very much back into!) and trying desperately to grow my hair as long as I could without annoying my church choir singing mum too much (which I now can’t do due to baldness!). The guitar solo remains as sublime now as it did when I listened to it on my Sony Walkman. There may have been a slight lump in my throat, such is the power of music invoked memories. This was further compounded by the impressive, speaker shaking intro to ‘Fuel’, with accompanying flames and pyrotechnics. Wow! Just wow! One thing I didn’t expect was Kirk and Rob playing a specially curated medley of music from Scottish bands, with Nazareth’s brilliant ‘Hair of the Dog’ and The Proclaimers’ annoyingly catchy little ditty ‘I’m Gonna Be (500 Miles)’. The place was rocking; such is the Scottish proclivity for being overly enthusiastic for anything Scottish… particularly when it’s played and acknowledged by non-Scots! ‘The Day That Never Comes’ was another memory bank moment, reminding me of sitting my then one year old son on my knee whilst making him play air drums! The show had already been more than I could’ve asked for but from this point on to the end of the show was everything I ever wanted from Metallica. A triple salvo of The Black Album with the magnificently moody ‘Wherever I May Roam’, the emotionally sublime ballad ‘Nothing Else Matters’ and the heaviest of heavy songs (“Do you want heavy?” asked Hetfield), ‘Sad But True’. For me, that trio was part of the Holy Grail of Metallica music. In fact, they’re part of the Holy Grail of metal music! Flames, explosions and the sound of gunfire signalled the start of anti-war song ‘One’, the sole representative of the …And Justice For All album, starting softly and sadly before exploding into a cacophony of anger and disdain. Some fun was introduced with the release of massive Metallica-branded beach balls that were thrown around the crowd during ‘Seek and Destroy’, with one poor stagehand being responsible for batting them away when they got too close to Lars Ulrich’s drumkit. Despite some obvious deliberate attempts by fans to do just that, the stagehand was successful in his duty!  There’s no time for encores in a Metallica show. They don’t need the validation of a crowd screaming and stamping for their return to the stage. The final two songs could be the ones that define Metallica; the thrash majesty of ‘Master of Puppets’ and the more commercial-yet-heavy melody of ‘Enter Sandman’. Heads banged, fists flew into the air, some people even cried. Then, it was all over, as drumsticks and guitar picks were thrown into the crowd causing something reminiscent of a wedding scramble (remember them?). What a night! Being a Metallica fan means being part of the Metallica family. They’re not the type of band you listen to and then grow out of. Oh no, once you’re in, you’re in for life. To people like me, Metallica are much more than just a band. They’re memories of youth and were harvesters of our sorrow when times were tough. They’re a reminder that being the uncool metalhead kid was the making of many a person. In fact, with age and hindsight, we really were the cool ones, unafraid to be different and refusing to go along with the trends! When it comes to metal music, nothing else matters! It may be another 9 years before we see Metallica back on Scottish shores. It may even be that they may never return, as after all, they’re now in their early 60s. Either way, the memories will remain of a legendary night that broke attendance records at Hampden Park in Glasgow. Brutal, powerful, heavy, loud, metal… Metallica!

I have returned to the first venue I shot in for Rockfiend photographing one of the first bands I shot when I started to take photography seriously. I am in The Cathouse in Glasgow to shoot Six Year Silence. There are two more bands performing tonight, one more local and one which has travelled up from England. The band opening tonight's gig are a Glasgow based band, Layaway. Now, every time I've seen Six Year Silence, their fans turn up early in numbers to catch the support bands, which has carried on tonight, plus, also based in Glasgow brought some of their crowd along too. I have stated in other reviews that I'm not a fan of people who only turn up for the headline band, so bonus points to tonight's audience turning up for Layaway. As we are in The Cathouse Rock Club, there is an early door time as everything needs cleared up before the club opens for it's usual Saturday night frivolity. Layaway take to the stage a few minutes later than advertised, well it is Glasgow! The singer introduces the band and then proceeds to tell the crowd that they have a new album coming out (it should be out whenever you read this) and tonight's set is mostly tracks from said album. Layaway have been around for a while, I first saw them around 2017/18, so they are pretty sure footed on stage and communicate easily with the crowd, this rapport goes down well with tonight's crowd. It seems that with a blink of an eye Layaway have got to the end of their six song set, they leave with great applause and cheering. Next up are our visitors from down south. This will be my first time seeing and listening to Time Stands Still. I was chatting with the bands photographer earlier, she gave a very good report, so by the time they took to the stage, I was looking forward to what they were about to play. Like most people, when someone tells you about a band, especially someone who is pretty close to the band, you tend not to take anything too seriously, especially if, like me, you are as close to the headliners. A quick glance to the set list tells me that Time Stands Still are getting more stage time than our openers, either that or their nine songs are all three minutes long. They are not! Like Layaway, Time Stands Still have a stage presence and are not shy about using every inch of the stage and more. It doesn't take much time to realise, these guys can play, plus there is a great rapport with the crowd, it's not just "this song is called" and they play the song. The singer is a rather chatty guy with the crowd. Personally, this adds greatly to the performance. I get that supporting bands are restricted by time, But mentioning the town/city to get a response is old and boring. I know most bands do it, yes it gets a response, but please, try something different, even if it's "we have merch over there, please buy some" or "we'll be at the merch table after, come say hello". Their set was laid out as two songs, chat, one song, chat, two songs, chat then four in a row, with the odd couple of words thrown in between the final four. Personally, I liked the last four songs more than the first five, I will say, the first five were not poor songs, or filler, I just favoured the last four. I can now say that the bands "tog" was accurate with her comments about the band, Time Stands Still are bloody good, and could quite easily have headlined! I would happily head out to see them again. Time for our headliners. What can I say about Six Year Silence that I have not said in previous reviews. When I started taking photography more seriously, Six Year Silence were one of the first bands I shot. I've got to know the lads pretty well too, even to the point of front man Johnny passing in his car, pulled up to have a chat. In the past, I have described Johnny as being like the lion in The Wizard of Oz movie, no, he is not cowardly, he is a mass of hair, that's just the association I get. Since the last time I saw them, they are now a four piece, rather than the previous five piece. When a band looses one of their guitarists, at times there can be a difference to their sound, however, not tonight. Their sound is just as powerful as before, Greig on the riffs, Iain & Gary pounding out the timing like a well oiled metronome and Johnny up front, an actual powerhouse, like one of my all time favourite singer Steve Grimmett. As always I got the ubiquitous mic toss, big hair and one finger salute shots from Johnny. When it comes to writing a review I will admit I'm not the most observant of reviewers, I'm usually "in the zone" concentrating on the photography, I know, take notes etc, but I forget to take a notepad. I cannot remember if Six Year Silence played thirteen or fifteen songs, not that it matters, they absolutely nailed it, playing a lot of favourites like "I desire" "My Enemy" "King to a clown" and ending with "Monster". As with a lot of bands these days, they do not leave the stage and come back on for an encore, they just play on, the penultimate song was a bit of a surprise, a cover of Soils "Halo", which blew the roof off! I have to admit, Soil could not have played it better themselves. After they ended with the afore mentioned "Monster", the crowd chanted louder and louder for "one more song". Lets be honest here, they could have easily played on, however, The Cathouse is primarily a nightclub, and it is a Saturday night, the club opens at eleven, it's now just after half past ten, it is time to say goodnight, I did contemplate staying behind with the bands, however my wallet started laughing, don't you just hate when that happens? As always, if you don't know any of the bands here, or even if you do, head over to your favoured streaming platform and give the bands a listen to, even better, check out their web pages or social media pages and see if they are playing near you, buy a ticket and go see them perform live, there is nothing better than taking in a live gig. See you at the barrier.

When people talk about The Big Four in thrash metal they mean Metallica, Anthrax, Megadeth and Slayer. As I am not a huge fan of American heavy metal, when I talk about The Big Four, I mean bands from the UK. Acid Reign, Onslaught, Xentrix and Sabbat. Tonight, the masters of British thrash metal are back in Glasgow. Acid Reign have returned to Audio! Acid Reign are from Harrogate, Yorkshire, you wouldn't think that by the way frontman (and only remaining original member) Howard "H" Smith talks, he has said a few times that Acid Reign in Audio is like coming home.  The band were formed in 1985, split in 1991 and reformed in 2015 and have played Glasgow several times since reforming. One thing guaranteed at an Acid Reign gig is, you are going to leave the venue with a smile on your face and in pain, especially if you are standing close to the stage, there are going to be virtually constant stagedivers and a pit! I'll get back to this later. As usual, the doors are a little late in opening, it's only a few minutes, but still not on time. I LOVE this venue. During most of the twenty teens Audio was like a second home to me, it was, and still is a venue to see great bands and a great night, again, tonight is no exception. The first band to grace the stage, are a Scottish band, a five piece, from Perth, they are Killscythe. Unlike many of the Scottish heavier bands I have seen, Killscythe don't try to sound similar to the American "Big Four" ok it's thrash metal, it is a niche genre which has it's own recognisable style and sound. Killscythe fit in well in both style and sound but are more akin to the UK "Big Four" than the American, which suits me just fine, even though one of the guitarists is wearing a Testament t-shirt. They only have thirty minutes, half a dozen headbanging songs pounding out one after another, I have to admit, it's not that easy to headbang and use a camera at the same time, but I think I managed. Next up are a band I thought I recognised, not just by sight, but by their first couple of songs, however, Enquire Within's frontman announced that this was their first time playing Scotland. The band, also a five piece, formed back in 2016. I've only been to two gigs outside Scotland since 2016, one was Download 2016, the other was for Paradise Lost in London in 2023, neither which Enquire Within played, so I have no clue where this familiarity comes from, oh well! Enquire Within have forty five minutes of fist pumping, headbanging thrashing heavy metal. Once again I am focused on photography I forget to get the setlist, I thought it would be easy to catch a shot at the end of their set, but setlists don't hang around for long when the crowds are inches from the band. Enquire Within are perfectly suited for tonight's show, another twin guitar thrash metal band, maybe it's just me, but I'm getting Pantera vibes from the lads, I'm not saying they look or sound like Pantera. I don't know what it is, but that's what I'm getting from them. Having seen Pantera back in the nineties, maybe it's the energy, but that's what I'm feeling tonight. I can't wait for them to come back to Glasgow. It's break time again, and as usual between bands a conversation starts with people around, one guy, in his fifties (like myself), states that this is his first time in Audio, he is impressed with the overall experience, and this is his first time seeing Acid Reign. Where have you been man! A few of us take turns to describe what kind of night he is in for, he looks around, then states "most of the crowd are roughly my age. There is no way in hell that there will be stagediving and about the same chance of a pit!" If looks could kill lol As I have said above, Acid Reign were formed back in 1985, but only have four studio albums, the fourth being the current one, hence this tour. Before I get into the bands set, I posted on my social media page that tonight is bitter sweet, tonight is my first intense metal gig at Audio since the passing of "Papa Mosher" Peter Mitchell. Peter, even in his sixties, he was the instigator in starting both the "Mosh Pit" and stagediving. No matter who went "over the top" Peter made sure everyone was safe! The inmates have managed to free themselves from the asylum and are entering stage right! Like every band advancing to the stage, Acid Reign face a cacophony of noise welcoming them back to Audio. They are a heavy metal band, so they are dressed appropriately, apart from frontman "H", who was wearing what can only be described as a hoodie, except the one he was wearing went all the way to the floor. Set opener was the opening track "The who of you" from the new album "Daze Of The Week". A further six songs from the album will be performed from tonight's fourteen song set. Next we get hit with "Goddess" from the bands first E.P "Moshkinstein" I then feel a hand on my shoulder, I half turn around, there is a certain Mr Peebles scrambling onto the stage! There goes the first one "over the top" Many years ago Lawrie Peebles was one of a group of teens who came along and became part of "our" metal family, and one whom Peter helped Lawrie with his first to many "over the top" stagedives. Remember that guy at the break? Next is the title track from the album "Daze of the week" then another crowd favourite, "Humanoia" from their first album "The Fear". It is now raining bodies. Several songs pass, bassist Pete Dee, no relation, heads own into the crowd, another song or two, then it's time for H to leave the stage, previously when playing Audio, H likes to perform on the actual bar, tonight is no different. At one point H also stagedives and is carried round the venue. Acid Reign usually throw in a cover version to their set, tonight we get two! Firstly, a thrash metal version of Blondies "Hangin' on the telephone" which was released as a single at Christmas nineteen eighty nine. The other cover was "Just sit there" by Crumbsuckers. Final song is "No truth" from "Daze of the Week" H announces that he wants some photos of the band with the crowd, he then asks me to come on to the stage to take some photos. This is a surreal moment for me, I have never been asked to do this before, especially from a band I love, I have muscled my way on stage before and grabbed an end shot, so being invited was special. First song of the encore, "Fantastic Passion" from "Daze". H gets the crowd to put both arms up in the air, bassist Pete beckons me on stage to capture H leading a room full of mostly fifty year old heavy metal fans, waving their arms from left to right, I'm ushered off stage for the final song, another from their original EP "Moshkinstein" the song that everyone sings along to, a song written about the classic movie "Psycho", "Motherly Love". The crowd are in a frenzy! The band then take their accolades from the crowd, I am then invited back on stage for the end photo. Photo done, thanks and handshake from H. Gig over? Not quite. H is back on the mic, chatting with the crowd, I don't quite catch what he was talking about, but I do catch "health and safety! H heads towards Audios "green room", stops at the door where a six foot stepladder stands, H grabs the ladder, a huge roar comes from the crowd, yeah they know what's coming, H just cant stop performing, he opened the stepladder on the edge of the stage, climbs to the top and propels himself from the top of the ladder into the crowd below! No band ends a show like Acid Reign! As always, if you do not know any of the bands, head along to your favoured streaming platform and have a listen. You may find something you like.

DIGITAL VERSION ARRIVES JULY 3 1

Forthcoming EP All Returns to Hollow and Silence out 24th July via Seek and Strike

Before we start, I feel I should give some context. I’ve never considered the 90s to be my era. I know for many, it was the decade of grunge or Britpop, but for me, it was all about the Spice Girls. I can only apologise, but such is the nature of being born in 1991. And when I started to develop something resembling good taste, it was the classic rock and metal of the 70s and 80s that really floated my boat. As a result, it took me some time to discover Skunk Anansie, and even longer to give Garbage a whirl, a band who were never really on my radar until this co-headline tour was announced. So in writing this review, I cannot claim to bring any expertise, just the opinions of a music lover who is open to anything a bit ‘alternative’. Wandering into Dreamland tonight, it’s clear that this is a different crowd to the ones I usually find myself in; Younger and dominated by women (a situation that makes queuing for the toilets a bit ridiculous!), there’s a real sense of girl power (wait… are we back on the Spice Girls?!) mirrored by first act of the evening Du Blonde. And though I initially assume that’s the name of the band, it’s actually the stage name of singer and guitarist Beth Jeans Houghton. A talented songwriter with a knack for delivering upbeat pop-punk with attitude, she has a likeable, modest presence, acknowledging that she’ll probably “f*** up” her guitar parts before doing just that! But it’s all part of the charm, and doesn’t detract from the genius of ‘Next Big Thing’, a song that takes sleazy comments made by men and twists them into something actually worth hearing; Cortney Dixon’s lovely harmony vocals bring a smile to your face, at least until you remember what she’s singing about! Excitement is rising as inflatable spikes cut their shape across the rear of the stage. There’s a lady just next to me who’s struggling to keep it together, already throwing some unusual moves before the music has even started. But the unmistakeable, jolting riff of ‘Charlie Big Potato’ sends her into overdrive, and I almost get it. I’m not sure I’ve ever seen a more compelling frontwoman than Skin, who radiates wild energy despite the sweltering heat (and her striking leather threads!). Her voice is something else, at times delicate and beautiful, at others full of power and aggression. Initially frustrated by a noise limitation and problems making her voice heard, ‘Because of You’ gets started again, and from there, Skin really soars. The audience is utterly captivated, and the communal singing during ‘Hedonism (Just Because You Feel Good)’ and ‘Weak’ is so loud that being part of it feels almost spiritual. Whether crowd surfing, encouraging mosh pits or talking about the importance of acceptance, you sense that Skin does everything with absolute conviction. It’s this conviction that ensures ‘Yes It’s F***ing Political’ still rages 30 years on, and that the anger fuelling ‘Little Baby Swastikkka’ is impossible to miss. For me, Garbage feel a little subdued in the wake of the more explosive Skunk Anansie. Brooding and atmospheric, the cyclical ‘There’s No Future In Optimism’ is pretty far from my usual listening habits but delivered with an intensity that starts to win me over. The sinister, angular riff that anchors ‘Hold’ is better still, but unsurprisingly, it’s the classics that really build the momentum. ‘I Think I’m Paranoid’ kicks things up a gear before ‘Stupid Girl’ is dispensed early, with a dedication to Margate artist Tracey Emin who is somewhere in the audience. Shirley Manson is quite a talker, joking that it’s possibly the result of the “big whiskey” she had before taking to the stage; Given that she describes Margate as ‘dreamy’, I’m inclined to agree! Garbage are extremely good at what they do, and undeniably have some bangers in their arsenal. For me, ‘Vow’ and ‘Push It’ are the highlights, but I’m also enamoured by the darkness of ‘Have We Met (The Void)’. Though I’m not sure I’m ready to call myself a fan, I’m impressed, and sing along merrily to ‘Only Happy When It Rains’ with the rest. Shirley Manson probably sums it up best, when she utters the words “f***ing iconic”. I still don’t think I’ll ever consider the 90s to be my era, but I can accept that there were women around who made far more exciting and important music than I ever realised at the time. Skunk Anansie and Garbage are still making great music now, and prove worthy of their legendary reputations.  Photo by Laura DQ

SET FOR RELEASE ON AUGUST 28, 2026, VIA FRONTIERS MUSIC SRL

“You make concessions when you’re married a long time that you don’t believe you’ll ever make when you’re beginning”. – Anna Quindlen I’ve made a few concessions in over 21 years of years of marriage to the annoyingly ever youthful Mrs Griffiths and yes, they do indeed become more frequent as time marches on into the moans, groans and arthritic pains of middle age! Agreeing to accompany her to 90s boyband sensations Take That on the hallowed footballing ground of Hampden Park in Glasgow was one such concession. A gig on a Friday night in Scotland’s largest city without the joyful sound of hard rock and metal… inconceivable stuff for this writer! But then again, this year alone I’ve already accompanied the good lady to Robbie Williams and Carly Pearce. Maybe I’m just getting mellower with age! Driving up to Glasgow to the soundtrack of a Take That playlist, with Mrs G singing along, really put her in the mood to see the idols of her teenage years. The cold glass of Prosecco she downed when we parked at a friend’s house (let’s call it the Somerville Arms Park N Go!) near to the stadium also helped to lubricate the vocal cords! But hey, it was her night as the headliner and I was merely the support act, chauffer and sommelier (ie. getting her a cup of lukewarm white wine in a paper cup for £8.50 between acts!). Support was from former The Go Go’s singer Belinda Carlisle and Irish rockers (kind of!) The Script. It has to be said that Carlisle looks fabulous for 67 years young, entertaining the crowd barefoot with sing along hits such as ‘(We Want) the Same Thing’, ‘Live Your Life Be Free’, ‘Circle in the Sand’, ‘Summer Rain’, ‘Leave a Light On’ and of course the big one… ‘Heaven is a Place on Earth’. Be honest… you’re singing along just reading this, particularly if you’re my age or older and grew up with this on the radio… or your mum and dad’s record player! The Script certainly pulled out some of their bigger songs (meaning that even I knew them enough to hum along!) and a sizeable amount of the crowd seemed to go crazy for them. But in all honesty, I thought they were quite… well… nonde-script (see what I did there???). They are clearly talented musicians with a knack for a catchy tune and a huge fanbase but I felt the music was dwarfed in a stadium and didn’t quite hit the mark for me. But hey, who cares what I think, as ‘Superheroes’, ‘Rain’, ‘Man in the Arena’, ‘Breakeven’ and ‘Hall of Fame’ had much of the audience bouncing, even if the more heavy metal-like ‘single-hand-up-and-down’ thing didn’t quite work. Perhaps I need to see them in an arena to really get them! They’re releasing a new album and touring at the end of the year, so who knows! An impressive opening circus act (well, the tour is called The Circus Tour!) eventually saw the three remaining Take That-ers (is that what they’re called?) of Gary Barlow, Mark Owen and the other one appearing suddenly between a cacophony of clowns and balloons on the B-Stage at the end of the runway. The opening strains of one of the band’s reunion-era hits, ‘Greatest Day’, with the echoing tubthumping of powerhouse drummer Donavan Hepburn, really got the crowd going. It’s as catchy and inspiring as any pop song this old rocker has heard in years and I must admit to having a soft spot for it. ‘Hello’ led to Barry Manilow-composed ‘Could It Be Magic’, transporting many middle-aged women back to the carefree days and nights sharing stories about boys in their class over a Wimpey or a Woolworths Pick N Mix! ‘Pray’ kept them in that place, whilst ‘A Million Love Songs’ caused many a (bad) knee to buckle! Swoon, indeed! The ever catchy ‘Back for Good’ (I’m sure Mrs Griffiths tried to winch me at a youth disco when this played in the mid-late 90s… but I could be wrong!) caused a mass sing-along, with even me knowing the bulk of the words, whilst desperately trying to remember if it was that song at the disco… or if it was even Mrs Griffiths!!!). It was a quite phenomenal start to the show… and for the record, I know “the other one” is Howard Donald! It was an attempt at humour that will land with some and crash with others! The three heroes made their way from the B-Stage to the impressive Main Stage on a superbly constructed mechanical elephant, that slowly ambled from one point to another as they sang the wonderful, soaring chorus to ‘The Garden’. It’s a strange song, as I’ve never felt that the dirge-like verse really goes with the brilliance of the chorus… but with the accompanying visuals, it worked superbly! The ever-catchy ‘Smile’ (I’m sure it was used in a Morrison’s advert!) opened the main stage, followed by ‘Up All Night’ (I’d never heard that one!) and the ballad ‘Babe’. Brand new song ‘You’re a Superstar’ led to snippets of ‘Love Ain’t Here Anymore’ and ‘Nobody Else’ and piano-led versions of ‘The Circus’ and ‘What is Love’. Amongst all this, there was a bloke on a tightrope walking half the width of the stadium, marching bands and high-flying trapeze artists! Breathtaking stuff! Another old cover song made famous by the then Manchester quintet, ‘It Only Takes a Minute’, was part of a wider medley section that included ‘Promises’, ‘Take That and Party’ and another few songs before ‘Said It All’ and a We Will Rock You-stealing hand-clapping, hand-waving ‘Never Forget’ brought a party atmosphere. It was back to the B-Stage for reunion hit ‘Patience’, which apparently reminds Mrs G of pushing our oldest son around Debenhams in Ayr in his pram. Music really is the best time machine. One of Take That’s most famous covers, Relight My Fire’, brought the main set to an end with some of the most impressive visuals I’ve seen at a show for many years! How did they get that big inflatable voodoo figure to talk and sing! It was huge… and competed in the size stakes with Gary Barlow’s son!!! There was no Lulu in her Glasgow hometown… but lots of flames made up for it! An encore of ‘Hold Up a Light’ and the wonderful ‘Rule the World’ (used as the soundtrack to every awards show for the last decade!) with fireworks in the Glasgow sky ended the show but not before a well-deserved final fling instrumental for the excellent band of musicians, including long-time musical director Mike Stevens and longtime guitarist Milton McDonald. The party atmosphere continued as the stadium emptied with the whole stadium singing and dancing (badly) to the seminal end of wedding, everyone’s drunk song ‘(I’ve Had) The Time of My Life’. Mrs Griffiths wanted to run and jump at me…but you know, arthritis and middle age. Wasn’t happening! What did happen was a happy wife heading home to her normal life of wannabe rock n roll husband and two ever-mood-changing teenage sons after rewinding the clock and literally having the time of her life with her one-time teenage idols in Take That. It was indeed a special night and was a timely reminder of how music can transport you back in time, causing mass happiness and togetherness… and that’s something the world really needs right now! For that and for an evening of supreme entertainment, Gary, Mark and Howard (the other one!) should take a bow. As for me and Mrs G, it’s Metallica and Def Leppard over the next few weeks. Concessions and all that…… Take That continue The Circus Tour with a second concert in Glasgow followed by dates in Cardiff, Manchester, London and Dublin.

Review Elaine Button - Photos Andy Bradley

Review Elaine Button - Photos Andy Bradley

OUT JUNE 26, 2026, VIA FRONTIERS MUSIC SRL

13TH ALBUM "CHAMA" OUT NOW VIA NUCLEAR BLAST

TAKEN FROM THE UPCOMING 20 TH ANNIVERSARY EDITION OF KISS OF DEATH OUT 3 rd JULY ON EXPANDED DOUBLE LP AND 2CD

Finnish rock band The 69 Eyes is thrilled to announce the release of the new EP “I Survive”, out now via BLKIIBLK.

Hot off the heels of the first legof a U.K. and European tour with his International All Stars band to promote his new album  ‘Absolutely’, Warner E. Hodges played a rare and it has to said stunningly good solo gig in Kinross last night. One of only a handful of solo dates across the U.K., the show almost went beneath the radar for me as I’d missed the announcement on his social channels, but thankfully picked up on it in an e-mail alert from Mundell Music who deserve kudos for bringing this top quality gig to Scotland. Even more so, as the venue is only a 20 minute drive from where I live. Promising a selection of songs and stories from throughout his career as a founding member of both Jason & the Scorchers and Dan Baird & Homemade Sin, as well as with his own band and in a format rarely played - solo - the potential for no-nonsense boogie was high, albeit played acoustically. Taking to the stage at 8.00pm sharp, Warner immediately eschewed the acoustic element of the ‘acoustic storyteller’ format explaining that he agreed with Billy Gibbons that “acoustic guitars are bad Ju Ju” as he strapped on his trusty Les Paul and that he’d just be playing electric (including solos) and see how that goes. Starting with ‘Preachin’ to the Choir’ (from his ‘Just Feel Right’ album), the opening riff of which owes as much to AC/DC as to cow punk, and the night was set for some wonderfully raucous music delivered by one. However, such is Warner’s ability to fill a stage and venue with guitar there were times when it sounded like there were two guitarists on stage and a few moments when, hell, there could easily have been three. Did we miss or need bass or drums? No … what are these alien concepts and instruments you refer to?  The bluesier and more Creedence Clearwater Revival-leaning ‘Plain Mean’ (from his ‘Soul Shaker’ album) follows before what Warner introduces as “a song by Dave Edmunds written by Bruce Springsteen” - ‘From Small Things (Big Things One Day Come)’. As with many of Springsteen’s songs, the quality of songs discarded or given to others results in others having hits. Resting his arms on his guitar Warner tells us a cautionary story about when he first met Dave Edmunds (his idol) and than another story about when a few years later he met Bruce Springsteen while they were recording separately in studios near to each other. I’ll not spoil the stories in case you manage to hear them at a later date down the road. The first song from his new album to be played tonight was up next, ‘Individually’, followed by his explanation that the chorus “ I don’t care about you, You don’t care about me, We’re all in it for the same damn thing, Individually” was written about how divided things are in the States just now. He also spoke about his 90 year old Mum’s concern that he’ll not be allowed back into the States after touring and speaking about Trump. I’m a sucker for solo gigs, as acoustic versions of much-loved songs can offer something different in a stripped-back form, but there is nothing rawer than when an artist plays alone and sings over an electric guitar. It’s like the first time I listened to Graham Parker’s ‘Live! Alone in America’ or when Bruce Springsteen (often) plays a live version of a full-band song just on his own. This solo set was very much in this territory and I was gripped. Warner’s long-term bandmate and collaborator, Dan Baird, is referred to regularly during the gig with one reference introducing his cover of Homemade Sin’s ‘Lick A Sense’. As on a number of occasions throughout the set, Warner’s gentlemanly Southern charm comes to the fore as he asks the audience “is it okay if I play a country song?”, explaining that he’s from Nashville and highlighting that country music is quite different to metal; if you play metal records in reverse you can conjour up the devil whereas if you play country music in reverse you can get your wife, house and car back! With that, Warner sings ‘The Magician’. Having not listened to it in ages, I initially took it for a cover before rediscovering it on his ‘Just Feel Right’ album. Two songs follow from his ‘Right Back Where I Started’ album - the first after being asked if we’re okay with him playing a fast song, ‘Waitin’ On Me’, and the second dedicated to his wife who inspired the song ‘Never Alone’. Turning attention to the Scorchers, Warner reminded us more than once during the gig that the band had originally been called Jason and the Nashville Scorchers, reflecting their home town name, but had to drop the “Nashville” from their name when their EP took off and they were then signed by EMI. Self-deprecatingly he told the wonderful tale about how he hadn’t realised that their breakthrough hit ‘Absolutely Sweet Marie’ was a Dylan song, he wouldn’t have recorded it if he’d known, then they supported Dylan and deliberately didn’t play it only for Dylan to ask them to as he preferred their version to his original. Further stories followed about touring with Stevie Ray Vaughan and with The Ramones as the Scorchers took off. Approaching the end of the set, another song from his new album followed, ‘When My Baby’s Blue’, along with ‘I Love You Baby’ before two more Scorchers’ numbers - ‘White Lies’ and their wonderfully raucous cover of ‘Take Me Home, Country Roads’ which was no less raucous in Warner’s hands to close his set. Remaining on stage and humbly soaking up the applause Warner decided to give us one more song which he simply introduced as a protest song - ‘Fortunate Son’ - a song which has been covered so many times by different artists, but tonight, again just accompanied by his gnarly Les Paul, sounded rawer, fresher and more urgent and immediate than I’ve heard it before. Warner is a guitarist’s guitarist and extremely highly-rated by his peers - not for shredding or histrionics, but for his pure ability to, as Charlie Starr put it, “play the shit out of the guitar”. Over the course of 90 minutes and armed with just his Les Paul and some FX pedals Warner provided a masterclass in guitar playing coaxing sounds out of it that were by turns chunky, raw, meaty, dirty, soulful, honeyed and sexy with beautiful tones throughout. Importantly and subtly doing this in a way which isn’t off-putting or self-indulgent to those who aren’t guitar freaks. He plays so naturally that his guitar appears part of him, almost like an extension of his physical being, that it wouldn’t have been hard to imagine little Warner emerging from his mother’s womb clutching a guitar and laying down a riff before his umbilical chord was cut. Watching and listening to him play, it also occurred to me that Gibson could save themselves a fortune in marketing and artist endorsements, simply by recording a clip of Warner playing and inserting a big arrow pointing to him saying “THIS”. Warner is an experienced pro and entertainer. Having spent most of his career backing others or more recently fronting his own band, he did appear a little less comfortable playing solo than when I’ve seen him playing with bands and when having other musicians to play off. But he should be in no doubt he absolutely nailed this - vocally, musically and in providing great entertainment. Saturday nights, or any nights, don’t get much better than this. As great as the gig was, there were only around 50+ in a room which could have held double that. I also noticed Warner joking on social that he’d just been told that another date on the tour “ will be “light on the ground”! I guess that’s code for “haven’t sold many tickets”?????? lol”. I’m not sure if these couple of attendances were down to there being so many gigs happening just now or to the solo gigs not being marketed as much as (or a bit more hesitantly than) the full-band ones, but I’d hope they wouldn’t be viewed as a failure. I and those around me loved every minute and the sheer quality of the gig deserves a larger audience. And if you do manage to see one of his occasional solo gigs consider yourself very lucky. I’d also love to see an album or EP based on this format. For those who may have missed seeing Warner or are keen to see him again, Warner E. Hodges and the International All Stars will be returning to the U.K. in September - 16 Sept - Bannerman’s, Edinburgh 17 Sept - The Waterloo Music Bar, Blackpool 18 Sept - The Patriot, Crumlin 19 Sept - Ruskin’s Bar, Kendal 20 Sept - 10 Cafe Bar, Forfar 21 Sept - 10 Cafe Bar, Forfar 23 Sept - Motorsport Lounge, Llandudno 24 Sept - Backstage at the Green, Kinross 25 Sept - Cart & Horses, London 26 Sept - Prince Albert, Brighton 27 Sept - The Cluny, Newcastle 28 Sept - The Greystones, Sheffield 29 Sept - The International, Leicester Tickets are on sale now for all dates. Go get them.

Live at the Cart and Horses London

Review Elaine Button - Photos Andy Bradley