Latest Rock News - Album & Live Reviews

One of the true signs of a great band is versatility, and the ability to venture into different pastures. Uriah Heep exemplify that approach, moving from Prog leanings, to Psychedelic, to Metal. Along the way, having the talent to dip in and out of each along the way. It's one thing to do that, though it's another to do it so successfully and convincingly. Heep are one of a relative handful to have pulled it off, and even more impressively, to have done it for so long. Starting at the very end of the 1960's, going into 1970, they've weathered every musical kaleidoscope of fortune, and come through bathed in glory. This evening, they have the tough task of attempting to appraisee that long career into 90 minutes, and in a festival setting.  Maid of Stone Festival is a refreshing experience, a far cry from the grinding nature of other events of this ilk, where we all walk off afterwards with our wallets emptied, and our teeth gnashing in displeasure. It's a great setting for UH, and they hit us with two recent offerings, "Grazed By Heaven" (from "Living The Dream"), and "Save Me Tonight" (from "Chaos And Colour"). This year is the 40th Anniversary of the arrival of Bernie Shaw (Lead Vocals), and Phil Lanzon (Keyboards and Vocals). You'd have to go a long way to over-enthuse regarding the impact and importance of their arrivals into UH. Bernie has an exceptionally powerful and adaptable voice, and also has had to cover all eras of Heep. He's done so with a masterful ease. Phil, with his musical input and arranging skills too, is so important. "Hurricane" also shows how Heep are moving onwards, having followed "Shadows Of Grief" and "Stealin'".  Founder member Mick Box wields an acoustic guitar, so it's time for the classic "The Wizard", one of many songs that give you a massive taste of 1970's Heep. The harmonies, the heaviness, the diminuendos, all perfectly pieced together. That theme continues with "Sweet Lorraine" and "The Magician's Birthday". The first of those two with glorious psychedelic overtures, the latter with an almost classical-meets-prog approach in structure. The rhythm section of Russell Gilbrook and Davey Rimmer interlocks fluidly, yet with great impact. The pair were inspired choices. Different to their predecessors, though dovetailing within the sound tremendously.  "Gypsy" jettisons us to the start of Heep's career, boasting one of the heaviest riffs from that era. This song segues into "July Morning", an edificial masterpiece of a song from 1971's "Look At Yourself". It originally served as one of many showcases for the wonderful voice of David Byron, and is also one of a raft of shining lights from the songwriting pen of Ken Hensley (on this song, with David, too) The main show wraps up with the singalongaheep of "Lady In Black", a whopping hit for them in Europe.  The first encore is the emotive "Sunrise", going right into "Easy Livin'" to send us all packing on a definite high. Let's tip our hats to Mick Box. Founder member, Lead Guitar, songwriter, vocals, and the man that's seen it all with Uriah Heep. And to Heep themselves, as one of the founders of Heavy Rock. One of our own, still doing it, still producing preeminent new material, and scintillating live workouts. "Very 'Eavy...Very 'Umble...Very loved." Phone photos by Matt Wisdom 

I was 40 years old when I finally met someone with the same first name as me. He was the piper at a Burns Supper I was at. And when you have a rare name, it makes it very easy for people to look you up online and get your details. The reason I’m telling you this is because Mecha-ChugZilla hail from Livingston in West Lothian, which is roughly ten miles from where I live, and they don’t look like the sort of people you’d want at your door. So this review was only ever going to go one way. Luckily for me, the Mecha-ChugZilla EP is 18 minutes of headbangers delight – pounding drums, heavy bass, riffs that sting and lyrics that are only half-intelligible so you need to listen multiple times to get the full message. Which isn’t an issue as this record deserves multiple listens. “You’re a failure… a f***ing waste of space!’ frontman Chris growls (I think) on EP opener ‘Failure’, over a cacophony of runaway trains that could soundtrack any of the chase scenes in Terminator 2. I’m also partial to bands that have the indecency to name a song after their own band, which makes me love this lot even more. “The army tried to kill him but they failed… I want to take him back home, it’s Mecha-ChugZilla’. Even if that’s not what the lyrics are, that’s what I heard, and isn’t that the most important thing? The band added the ‘Mecha’ to their name earlier this year, and this extra metal can be found in ‘Backstabber’ and EP closer ‘Down the Rabbit Hole’, which might be the weakest song here but lies in the wake of three such brazen beasts of tracks that it may need a solo outing later to appreciate it. Liverpool, Manchester, Sheffield… ok, you won’t find Livingston on anyone’s list of British musical pilgrimages, but Mecha-ChugZilla are a lot of fun and, if you’re lucky, will be raising your town to the ground soon.

Live at The HUG and PINT 4th July 2026

Live Review

Maybe I’m just getting old, but it always feels a bit difficult to get going on the second day of a festival. You’ve been on your feet more than usual, you’ve had a late night and everything starts a bit earlier on Saturday. Whatever it is, I definitely need a bit of a kick. Thank goodness then, for Welsh trio Häxan , who provide the ultimate wake-up call. They’ve played here before, back when Maid of Stone was new, so it’s heartening to see these hard rocking ladies making the leap to the main stage. Whether it’s the heavy riffing of ‘Skeletons’ or the distinctive sound of Harriet Wadeson’s Rickenbacker, at times I feel like I’m listening to a female Motörhead (though Sam Bolderson’s vocals are significantly more melodic!). Joking that they’re “not really a daytime band” and struggling to navigate the no swearing restriction, they’re a lot of fun, and certainly not the only ones who end up “head-banging before noon on a Saturday!”. A thundering ‘Burn Alive’ brings the set to a thrilling close. Over on the Firestarter, it’s Untamed Silence who gets proceedings underway with a warm and enthusiastic performance indicative of a band who seem genuinely delighted by the opportunity. Bringing in elements of symphonic metal, ‘Nowhere’ combines Debbie Wade’s theatrical vocals with some brutal riffs. Though perhaps not one of the most memorable sets of the day, it’s perfectly enjoyable, ‘Long Time Dead’ rumbling along nicely with some heavy guitar crunch. Back on the Inferno stage, Xander and the Peace Pirates set the day up right for anyone arriving a little late to the party. Getting the obvious out the way: singer and guitarist, Keith Xander was born without a picking hand. He clearly did not get the memo that said he couldn’t play guitar. So, he cracked on holding a pick in a prosthetic hand. Of course, there is the initial ‘wow’ when see Keith at first. It does not take long, however, before that first ‘wow’ evolves into a new and improved ‘wow’ as the quality of Keith’s playing becomes clear. The band only had a short set, but their bluesy, rock style got the crowd swaying in the early afternoon sunshine. This was a band made up of very competent musicians, including a bass man who, for me, was the groove master of the day. Hailing from Liverpool, and not the Deep South of America, as their look might have you believe, there is a good chance they will be in a venue near you. If you get a chance to see them, go. You will not be disappointed. Youthful and lively, Kit Trigg are a trio well suited to a sunny day. Their music is bright and optimistic, delivered with plenty of bounce and energy. Their set is a shot of adrenaline that lifts the spirits, frontman Kit mixing things up with his unique vocal delivery that occasionally wanders into rap territory, as on ‘Snake in the Grass’, which also throws in some sweet harmonies. It’s possibly an acquired taste, but seems to be going down well, much of that probably thanks to the irrepressible joy that these lads radiate. Given the number of ladies making their mark on the stage today, it feels appropriate to see Girlschool on the bill. True pioneers, Girlschool were playing heavy metal at a time when it was particularly difficult for women to make an impact in the genre, and they’re still going strong. The ever present Kim McAuliffe is wonderfully no-nonsense, much like the music the band play. From 80s classics like ‘Demolition Boys’ and ‘Nothing to Lose’, up to the fairly recent ‘It Is What It Is’, very little has changed; fast-paced, noisy and snarling with attitude, it’s easy to see why Lemmy was a fan. I’m initially a bit confused to see a man behind the drums, but it transpires that Denise Dufort’s feeling rough and had to stay home. It’s a shame, but doesn’t detract from a set that’s heavy on nostalgia and heavier on riffs. ‘Race With The Devil’, ‘Bomber’ and ‘Emergency’ ensure the set hits a home run at the end, leaving us all wanting more. Sadly I only catch a very short burst of Rattlesnakes set (I’ve probably been buying more food from the Texas Smoker!), but what I hear sounds fantastic, heavy metal brought bang up to date with a belting vocalist in Rowena Neale. I hope to catch the band properly another time. Given Motörhead t-shirts seem to be the uniform of choice today, its no surprise that one of the biggest crowds of the day is forming for Phil Campbell’s Bastard Sons . It’s an important occasion for the lads, marking their first show since their dad’s untimely passing. It must be tough for them, and the show starts with a tribute, a recording of Phil’s guitar work and his voice introducing ‘Heroes’. It’s this uncharacteristically mellow song that begins the set. Any sense of grief is soon pushed away in favour of celebration as the band pick up the pace and the energy with a raucous ‘We’re the Bastards’. Fury main man Julian Jenkins does a great job on vocals, but a very poor job at keeping his swearing under control! That said, it wouldn’t be a Bastards show without us being encouraged to raise our middle finger and shout “f*** you Tyla Campbell!” Keeping the spirit of their dad, and Motörhead alive, it’s always going to be welcome to hear bangers like ‘Going to Brazil’, ‘Rock Out’ and of course, ‘Ace of Spades’ working their magic on a festival crowd. The lads thank everyone for sending love and support at a time that has been incredibly difficult for them, and acknowledge that their dad taught them to play rock and roll - good job Phil. I’ve heard a lot of chatter about LN , so it’s only right that I go and have a look. Dressed like Vikings with painted faces, the band affectionately refer to their fans as ‘peasants’ and put on quite a show, LN Hirst brandishing a head on a stick (he’s called Donny!) as she stalks the stage. With a fascinating voice capable of elegance, and also angry, terrifying growls, she is utterly compelling. ‘Draugr’ is heavy and unsettling, the refrain of “he’s coming for you” giving the song a haunted quality. I hear many referencing LN as their band of the day, discussing Hirst’s ability to whip up the crowd. Not bad for a band that most of us probably didn’t know anything about this morning. Danko Jones proves to be something of a divisive choice, his quirky humour amusing some and causing others to proclaim that he should change the D in his name to a W! Say what you like, the Canadian seems to have mastered the knack of penning a catchy tune. Cleverly combining punk energy with hard rocking riffs and choruses designed to implant themselves firmly in your brain, songs like ‘Good Time’ and ‘First Date’ are relentless blasts of attitude. Jones is an intense presence, partly thanks to his face which always looks a little bit angry, but also because he attacks every song like he really means it. Bassist John Calabrese and drummer Rich Knox are very much locked in, and this feels like a tight unit. I had no idea what to expect as I waited near the front for Battle Born to take the stage. I turned around and saw that several thousand people either did know what was about to happen or were just as curious as me. Then the backing track came on, four guys in tight jeans, long hair and Flying V guitars sprinted onto the stage, they were then joined by a singer with loads of hair, a bandana and dark glasses that resembled re-entry shields from the Starship Enterprise. There was almost nothing of his face visible to the crowd. We had travelled back in time to the 1980s… and it was brilliant. This was a non-stop show of great energy and good fun. The crowd loved it and it was clear the band did too. It’s always great to see bands take their chance on a stage that, in all honesty, is positioned in front of what is probably the biggest crowd they have played to. Battle Born lapped it up and absolutely delivered. Like every other member of the audience I was smiling, and I have certainly added them to my ‘next time’ list. Introduced by Paul Anthony as “the original and only metal Queen”, I’m ashamed to admit I don’t know much about Doro Pesch. She looks fantastic in her leather and chains, and boasts an infectious enthusiasm that makes her very popular with the crowd. In fact, I’ve seldom seen someone work an audience so successfully. Backed by her dynamic band, ‘Raise Your Fist in the Air’ and ‘Warriors of the Sea’ go down a treat. Rowdy singalongs of ‘All We Are’ and Priest’s ‘Breaking the Law’ are something to behold, the the shouts of “Doro, Doro, Doro” as her set concludes suggesting that many would be happy for her to keep going. Virginmarys were last up on the Firestarter stage on Saturday, and I am an unapologetic fan. Originally a three piece, the now duo of Ally Dickaty on guitar and vocals and Danny Dolan on drums have been ploughing their own furrow for the last 10 years. Theirs is a sound that is full of hard hitting rock passion with a wee touch of emo on the side. Ally rips through the tunes wringing both bass grooves and no-nonsense melody from his guitar. Danny, well, he is a man who leaves nothing in the tank, there is no doubt he’ll have gone home knackered after knocking lumps out his kit, driving the beat like a boss. They kick off with ‘You’re a Killer’ before bouncing into my personal favourite, ‘Just Ride’. ‘Trippin’ New York City’ and ‘White Knuckle Riding’ keep everyone on their toes during a really powerful and unremitting set. The Virginmarys are right and they take their sizeable crowd with them throughout an on-form performance. This is a great band to watch and listen to - treat yourself. It’s not the first time Saxon have headlined a festival in Maidstone, having gone down a storm at Ramblin’ Man Fair back in 2017. A band who are always a dependable and popular choice, I suspect they’re the reason the park feels a little busier than it did yesterday. It’s fantastic to see Biff Byford looking fit and healthy following, in his words, “a rough couple of years health wise”. And better still to discover that he’s still got it, his voice sounding particularly good as the band tear through ‘Hell, Fire and Damnation’ and ‘Madame Guillotine’. Of course, it’s the classics that we really want to hear, and we get plenty of those; Much as it’s fantastic to discover new bands, there’s few things as joyful as singing along to old favourites at a festival. Saxon have quite a few, and from ‘Motorcycle Man’ onwards, it’s a true heavy metal party. Deciding to scrap encores and just keep playing, it’s lovely to see Byford interact with the crowd, donning an audience member’s jacket before a triumphant ‘Denim and Leather’. ‘Wheels of Steel’, ‘Never Surrender’ and ‘Princess of the Night’ are all present and correct, cornerstones of the genre that have never lost their power. It's been another fantastic day in Mote Park - the sun's been shining, the bands have been rocking, the Texas Smoker's been smoking and I’m ready to do it all again tomorrow!

Every now and then, if you’re lucky, a new album comes along which stops you dead, grabs your attention, sounds fresh and original with a sound of its own and might prompt you to don a yellow cape and shout “Holy sh*t, Batman!” (or maybe that’s just me). Dirt And Dust’ is such an album, makes most superlatives redundant and is just all kinds of wonderful. If you’re not familiar with Anti-Fashion, they have been quite a low-key transatlantic rock and punk collaboration between the U.K. and U.S. musicians JJ Watt and Frank Meyer. I first saw JJ Watt playing guitar with The Main Grains (a Wildhearts offshoot fronted by Danny McCormack and also featuring Ben Marsden on guitar) as special guest to Tyla’s Dogs D’amour a few days before Christmas in Edinburgh in 2017; while the Dogs are one of my favourite bands, on that night The Main Grains out-Wildhearted The Wildhearts and stole the show, after which I immediately bought their EP and ‘I’d Rather Be in California’ forced its way on to my running playlist (of mainly 80’s rock classics) and has been lodged in my brain ever since. After Danny temporarily re-joined The Wildhearts, The Main Grains folded and JJ went on to form and front the excellent The City Kids and may also be known to some of you through Thirteen Stars.  During COVID-19 JJ was introduced to Frank Meyer who fronted the legendary LA punk band The Streetwalkin’ Cheetahs (now active again), played guitar with Handsome Dick Manitoba (The Dictators), Wayne Kramer (MC5), FEAR, James Wilkinson (Iggy & the Stooges) and has also released a great album, ‘Motherf**kin’ Rock’n’Roll’, with Eddie Spaghetti (The Supersuckers) via which I was retrospectively introduced to much of his earlier music. Not many musicians can say they have experienced that career. JJ and Frank decided to collaborate online out of which they produced an album of Social Distortion covers for fun (‘A Bit of Distortion’) and released it under the Anti-Fashion name in 2021. Five years later Anti-Fashion are back with album number two. Eschewing covers for original material and with new recruits Rob Cass on vocals and Steve Ward on bass (both from the Midnight Dogs and contributing ideas they’d also been working on) and Kath Edmonds on drums (Kath & the Kicks, Rubella Ballet, StarRats and who had played on a track on their debut album) joining the fold.  While I’d enjoyed their debut collaboration, it had only hinted at what they might be capable of producing if creating some original material together. Being aware of their own respective output, my interest also only increased after Frank’s musically-diverse debut solo album, ‘Living Between the Lines’ and the punk and soul of the ‘Baby Dynamite’ single were both released last year.  So, no pressure …  But, does ‘Dirt And Dust’ live up to my anticipation and expectation? Yes, absolutely. But, I would go further and say it far exceeds them and can only be described as ridiculously good.  At a time when a lot of “new” music can sound same-y or derivative, and it’s easy to find yourself longing for something fresh and different, Anti-Fashion have fashioned (see what I did there?) an album which captures many influences and is laden with great moments and qualities, but without sounding just like another band doing the same as others.  Switching and shapeshifting through musical styles and influences with ease, Anti-Fashion provide a heady and appealing fusion in sound and have created an album of urgent, raw, hook-filled and compelling rock’n’roll.  The debut single from, and opening song on the album, ‘Drag Me Down’, (not to be confused with the closely-named Social Distortion track, ‘Don’t Drag Me Down’, on their first album) sets the scene with raw guitars, drums and bass in a style which could have featured in their constituent bands’ output, but very quickly develops its own multi-layered identity through Rob Cass’s very distinctive vocal style. Sitting somewhere in style and sound between Brian Molko (Placebo), Brett Anderson (Suede), John Lydon (PIL), Julian Raymond (the criminally under-recognised Dear Mr. President) and Ed Roland (Collective Soul), Rob Cass’s clear and Alternative vocal provides the perfect counter-balance to the rawness of the music both on this song and throughout the album. Also lifting the songs throughout are the regularly occurring gang background and harmony vocals provided by Frank, JJ and Kath which ensure melody is never far away or lost (also strangely making me think of ELO in places).  ‘Let Love Rule’ (not to be confused with the Lenny Kravitz song) is nothing short of glorious; opening with an insanely infectious and upbeat guitar riff all over the song against the background of raw guitars and THAT distinctive voice, building verses and a big chorus are underpinned by driving bass and drums. After only a few days since I first heard it, the song has become a constant companion appearing in my head unprompted while driving, watching the World Cup on TV and as I’m waking in the morning. Be warned.  Self-described in their PR as sounding like “Think Rolling Stones meets the Dogs D’Amour in a bar fight with The Wildhearts and Social Distortion”, I can hear and understand all of these comparisons and would encourage fans of them all to check out this album. But I could just as easily add into that mix The Kinks, The Who, The Yo-Yo’s, Suede, Placebo and PIL. But what Anti-Fashion do so well is to take all of these influences and passions, add them to their own and create something which sounds fresh, new, urgent, distinct and unlike most music which is out there just now … not an easy thing to do.  The style changes with ‘Day By Day’, a mid-paced number with Sixties’ Beatlesesque chorus, which manages to sound both melancholic and defiant, over those ever-present and beautiful raw guitars; and ‘She’s The One’ tips its hat to The Kinks with a raw ‘You Really Got Me’-style riff before shapeshifting into almost a completely different feel and tempo of song during the bridge.  Seven months into 2026 and if I hear better new songs by any artist this year than ‘No Escape’ and ‘Going Nowhere’ I’ll be very, very surprised. The album is worth buying for these songs alone. That is all I will say. You just need to listen to them. ‘Nightmare’ and ‘From The Heart’ (dropping the pace a little) are fast and furious, but controlled and melodic.  ‘Wild Animal’ bristles with influences from The Cult and The Who to ‘90’s and 00’s Brit Pop all the while stamping Anti-Fashion all over the song and making it unmistakably their’s.  Maintaining the very high quality to the end, the title track, ‘Dirt And Dust’, is another great song with a chorus and melodic backing vocals which many artists could only dream of with the darker, heavier, powerful and more straightforward rock track ‘Too Much Pressure’ closing the album.  The playing throughout is really solid. Frank and JJ provide a great mix of raw and clean guitars complementing each other well and filling the songs anchored by Kath and Steve’s powerful rhythm section. Also, a final shout out on the production which sounds really big with clear separation between instruments and a great balance between these and the vocals which can be heard clearly at both low and high volumes. Credit to JJ for producing and mixing the album and to Dave Draper for mastering it.  Buyers of the Limited Edition of the CD can access two additional tracks - ‘Highway 101’ and a cover of the Stones’ ‘Dead Flowers’. If you want to know about these you’ll have to get the Limited Edition (100 copies available at the same price as the standard CD and both come with a free download).  ‘Dirt And Dust’ will be released on 2 Sept, but can be pre-ordered at www.antifashionuk.com (If the Limited Edition isn’t visible on the landing page, try clicking the menu then “music”)  ‘Dirt And Dust’ can also be ordered in the U.S. (on both editions of CD and vinyl) at www.noizeintheatticrecords.bigcartel.com  Recognising that the songs on this album are too good to just sit on a shelf, Anti-Fashion have also booked a short series of dates in the U.K. to give these songs a live airing -  2 Sept - Edinburgh, Bannerman’s (album release day) 3 Sept - Hartlepool , The Studio 4 Sept - Bradford, The Underground 5 Sept - Sheffield, Club HRH 6 Sept - Stockport, Holy Diver With special guests the Continental Lovers and the Dukes of Bordello on all dates; Burning Circus will also support in Edinburgh and Leaders of Men in Hartlepool.  Go on. Order the album. Go to the gig. Support music and hear some of the best new songs this (or any) year. GMcA

“Mason Hill are most definitely back… and I like what I hear”. Those were the final words used by this writer when reviewing Mason Hill’s comeback single, ‘Twisted’, a few months ago. It was a powerful slice of modern hard rock, introducing a brand-new sound (and brand-new singer!) to fans of the band and in many ways, was a musical rebirth for the Scottish rockers. Since then, Tom Ward (vocals), James Bird (guitar), Craig McFetridge (drums), Matthew Ward (bass) and Marc Montgomery (guitar) have completed a highly acclaimed UK Tour - including an explosive hometown show at the Glasgow Garage - as well as announcing their long awaited sophomore album, World So Wonderful, due for release on 23rd October 2026. In the lead up to the album being unleashed on the world, the band will play the Steelhouse Festival and Firevolt Rock Festival... but the build-up starts now with second single, ‘Hurricane’, released on Friday 24th July 2026! It’s a song that received its live debut on the recent tour, so to those who were lucky enough to attend… you’ve already had the pleasure of a sneaky preview, possibly without even realising! A short electronic/industrial intro leads to a dark sounding opening verse, with Tom Ward’s clean-cut vocals telling the story of love for a dangerous woman over a steady, heavy, sludgy riff. The riff gets faster, harder and heavier as the singer opines “I think I’ve fallen for the enemy” before the tempo slows temporarily for an unexpected keyboard interlude before powering back to life with a chorus that is a deliciously modern slice of heavy melodic hard rock. “Hurricane. She’s tearing through my body like she’s trying to find my pain and misery”. I think that’s called marriage, lads! That structure remains, with the bass of Matthew Ward and drums of Craig McFetridge acting as a rock-solid foundation for the heavy guitars of James Bird and Marc Montgomery, the chorus sounding even better second time around. Some incredibly heavy riffing, accompanied by an amazing drum sound, leads to a short, frantic yet brooding guitar solo before the bridge slows the tempo ever so slightly before bringing it all back together with the catchy, earworm chorus as the muse brings her victim to his knees, “begging for the End”. We’ve all known the intoxicating love of a dangerous woman… haven’t we?  ‘Hurricane’ continues the Mason Hill musical renaissance with even more power, riffs and heaviness. The guitars, bass and drums sound revitalised whilst Tom Ward’s vocals bring passion and intensity that drives the musical energy to higher planes. This confirms my assertion that Mason Hill are most definitely back… and now I LOVE what I hear! If the first two singles are anything to go by, World So Wonderful is shaping up to be one of the most anticipated rock and metal albums of the year. Album pre-orders open this Friday (24th July). You know what to do!

It’s good to be back in Mote Park, and better still to see beautiful blue skies overhead. It’s Friday afternoon, and Maid of Stone Festival has returned for a fourth year. No longer just an aperitif for the main event, the Friday line-up now boasts eleven bands across two stages plus a couple of additional performances exclusively for VIP guests. The site looks a little different to previous years in terms of layout, but remains pleasingly compact, the Inferno (main) stage no more than a few minutes away from the Firestarter (a showcase for up and coming talent). There’s no clashes between the two, with performances set to alternate throughout the day, and consequently no excuse not to catch at least some of the lesser known acts. Planet Rock DJ Paul Anthony has become something of a fixture at Maid of Stone, so there’s a pleasing familiarity in seeing him back on stage. His first introduction of the weekend is for young Australian Cassidy Paris , who has landed the opening slot on the main stage. Attracting attention in a very small red playsuit and matching devil horns, her music is catchy, melodic and easy to enjoy. ‘Wannabe’ is bouncy and fun, ‘Stronger’ an empowering anthem that Paris credits with changing her life. The influence of hair metal is evident, both in Paris’ own power ballad ‘Here I Am’ and a cover of Danger Danger’s ‘I Still Think About You’, the latter getting arms waving in the early part of the day. Joined on stage by Russ Grimmett of Fireheart for ‘Nothing Left to Lose’, the pair harmonise well and bring the set to a memorable close. Over on the Firestarter stage, Bournemouth based foursome Regional One play moody, dark music that feels a little odd against a sunny backdrop. ‘Control’ cleverly combines sharp riffs with contrasting, jangling verses and ‘Sold!’ has something of Shinedown in the commanding vocal delivery. Hard to put any particular label on, the audience seem to enjoy what they’re doing, joining in with the “woahs” that give ‘Hide’ an unforgettable hook. Canadian guitarist Anthony Gomes kicks things up a notch on the Inferno stage, heading up a power trio with a winning combination of charismatic stage presence and heavy blues riffs George Thorogood would be proud of. With his red leather trousers and white Flying V, Gomes makes quite the impression, proving himself an underrated guitar hero. Songs like ‘Painted Horse’ and ‘Fur Covered Handcuffs’ are so upfront and so immediate that it’s impossible not to get involved. A likeable raconteur who amuses with his self-deprecating humour (describing his band as the “ugliest in the charts”) and his appreciation for Tesco (something we have in England that he doesn’t have at home!), his between song banter is as fun and enjoyable as the music. Signing off with the words “peace, love and loud guitars”, it’s a philosophy we can all get behind. DeVere are not a band who deal in subtlety. They’ve got a strong look and present themselves with an arrogance that has you believing they’re already stars. It takes a while for frontman Sam Cassidy’s mic to start working, but that doesn’t stop him going for it, and when the mic finally comes to life, his style is so intense that you worry he might pass out. I mean that as a compliment, because he certainly gives his all to the performance. Loud and uncompromising, DeVere have got the songs to back up the image, ‘Empire’ and ‘Like Lightning’ are as catchy as they are heavy. Once seen and never forgotten, you get the sense that DeVere will make a mark on any stage they grace. It’s somewhat more mellow over on the VIP Acoustic Stage, where the ever popular Jack J Hutchinson is delivering some gentle takes on his tunes with bassist Greg Smith. The moving ‘I Will Follow You’ works particularly well in this format, and it’s interesting to hear ‘Call of the Wild’ cleverly reinvented. Hutchinson seems to be a man who can turn his hand to any occasion, and it’s no surprise that he’s attracted a decent crowd here. The New Roses feel like the perfect festival band. Even if you’re not familiar with any of their songs, the likes of ‘Attracted to Danger’ and ‘The Usual Suspects’ are so easy to pick up that you’ll soon have the choruses sussed. Delivered with German precision, The New Roses are tight and professional without ever being boring. Frontman Timmy Rough has a fantastic voice, giving real authority to ‘Bring the Thunder’ and ‘Forever Never Comes’. A well placed cover of Neil Young’s ‘Rockin’ in the Free World’ provides an opportunity for a good old singalong, but their set is joyful throughout. Sam Morrow satisfies any yearnings for Southern rock with his authentic Texas drawl and songs from latest album ‘Southern Boogie’. An unlikely cover of Pink Floyd’s ‘Have a Cigar’ brings his performance to a close, but it works surprisingly well. And it’s always welcome to hear something familiar amid all the new music on display. Few bands are as reliably brilliant or as shamefully overlooked as FM . In Steve Overland, the group have a wonderful, soulful singer who deserves to be recognised as one of the AOR greats. His voice is as good as it has ever been, and from ‘Digging Up the Dirt’ via ‘That Girl’ and ‘Synchronised’, FM are just perfection. The harmonies that dominate ‘Black Water’ are something to behold, but it’s keyboard heavy anthems ‘I Belong to the Night’ and ‘Bad Luck’ that get everyone singing along. As the band give their thanks, the sound of “we want more!” rings out across the park, a real compliment for one of the only ‘classic’ bands on the bill. It’s rare to stumble upon a band who genuinely seem to be doing something different, but Morganway certainly have a unique approach. The stage looks very busy with a keyboard player and violinist in addition to the usual guitarists, and sounds at times akin to a rock and roll hoedown. Fronted by hollering front-woman SJ Mortimer, they mash up genres whilst making it look very natural. Latest single ‘Machine’ takes aim at Spotify but sounds oddly chirpy for a song that is inherently angry! A band you suspect could appeal to many different audiences, they do a great job of winning over a rock crowd. Perhaps an unlikely choice for the acoustic stage, Juliet’s Not Dead sound fantastic as I wander past, perfect harmonies and engaging songs entertaining those who have paid for the ‘posh’ seats. There’s some debate about whether the VIP tickets are really worth it this year, given that the acoustic stage can be seen quite easily from the other side of the white picket fence! But given the nicer toilets, shorter queues for the bar, a goody bag and access to some really tasty toasties, I still feel reasonably satisfied! (On that note, do check out RNR Toasties if you get the opportunity - the Meatallica is absolutely delicious and packed with fillings!) Southern by their very nature, A Thousand Horses successfully break away from tradition with a Nashville sound uniquely their own. Much of that is thanks to Michael Hobby’s voice, which has an unusual rasp not usually associated with Southern rock. Cuts from latest album ‘White Flag Down’ provide much of the set and sound even better than their studio counterparts. ‘Dead Man Walking’ is a great opener, hard rocking and lively, ‘Part Of My Story’ somehow both sad and optimistic. I’m not much of an Oasis fan, but ‘Champagne Supernova’ is so familiar that even I’m singing along to a cover that suits the band surprisingly well. Admittedly, I prefer their own ‘Highway Sound’ which goes full country rock with the addition of harmonica and some lovely twin guitar interludes. Hailing from the “Deep South of Ireland”, Crow Black Chicken prove to be one of the biggest surprises of the weekend. A fascinating power trio, Christy O’Hanlon’s deep, resonant voice is as powerful as Stephen McGrath’s thunderous bass rumble that vibrates right through your chest. Perhaps a strange choice of headliner for the Firestarter stage (there’s not likely to be any songs that you know), they win the audience over quickly with their unique groovy blues. I hear many referencing the band as one of their favourites of the day, a true accolade given how strong both stages have been. It’s so good to have The Temperance Movement back, and better to discover that they sound just as brilliant as I remember. Worthy headliners who know how to please a crowd, Phil Campbell is as reliably spring-footed as ever, moving around the stage in his own inimitable way. Just as Jagger has his moves, so Campbell has his own, and it makes him a fascinating presence on stage. Drawing from their three studio albums, with a few new songs thrown in, the band give us enough familiar favourites (‘Ain’t No Telling’, ‘Caught in the Middle’, ‘Take It Back’ etc) that we’re more than happy to indulge ‘Always Been Love’ and ‘Silverlight Blues’, enjoyable tasters of the new album set for release later this year. Campbell thanks us for our patience with the new songs and seems genuinely thrilled to receive such a warm reception. He remarks upon the intimate show the band played in Deal last night, but decides “this is a bit better!” Gentle ballads ‘Smouldering’ and ‘Pride’ are nestled in amongst the Face- style joy of ‘Be Lucky’ and raucous ‘Get Yourself Free’, ensuring that the momentum doesn’t slip. Campbell says “we love you”, and it's clear we love the Temperance Movement right back. Photos by Jim Highman

It's Friday the 3rd of July and I am once again in the finest small venue in Glasgow, I am in Audio in Midland Street to shoot tonight's KURO gig. I was asked to cover this gig not long before, so not a major amount of time to do some research. To begin with, I looked on KUROs social media page to get the gig details, I follow the link which takes you to a site to buy tickets, not that I needed a ticket, however it did give a door time of 6pm. I arrange transport and gets dropped off outside Audio at 5.50pm, the place is deserted, which I am surprised as KURO usually pulls a crowd in their hometown. I step into Audio and instantly greeted by Kuro Andrews, KURO frontman, usual pleasantries over (I have known KURO from their first gig) I'm told the band are heading out for dinner, which left me even more confused, until I see door and stage times on the inside of the venue door. I door time is actually 7pm! Well I am not leaving to come back in a hour. I perch myself at the bar (which is not open yet) just as the main support, Burning The Dream take to the stage for their soundcheck, I've known about the band for a while, having seen videos on social media, also knowing their guitarist Greig, some of you might recognise Greig too from one of my previous reviews, Greig also plays guitar with Six Year Silence. After their soundcheck, I have a few words with the lads, then they also head out to get fed too. Next on stage for their soundcheck are opening band Mercy Prevails. Now this band isn't just young, they are YOUNG! I'm sure I heard that tonight was only their third or fourth gig! The band are a four piece, 2 lads and 2 lassies. As I know how drum sticks work, I tend to pay attention to drummers first. What happens next leaves me speechless, this young lady is f/king phenomenal! These days, that word gets thrown around too easily, yes there are great musicians out there, there are also some spectacular musicians out there too, but rarely you get someone who can leave you dumbstruck after quarter of a song during a soundcheck, and it just keeps getting better, and this is still the soundcheck! After the soundcheck, I head up onto the stage to have a word and to get a couple of photos, to be honest, with dealing with bands for a while, I just tend to jump in, like most of us do, I didn't even think for a minute and just jumped in again, the young lady looked absolutely terrified, there I am in front of her with my camera right in her face, oops, my bad, but I did get a couple of shots, she still looked confused when I left. Twenty minutes later, the doors open right on 7pm, no hold-ups at all. Fifteen minutes later Mercy Prevails take to the stage, having been there earlier, I know what is coming next. I'll just say it's really great to seeing women getting involved in some of the heavier genres of metal. YES I do know there are some out there, but it's still pretty rare. Mercy Prevails play a kind of melodic death/metalcore crossover style, with both soft and harsh vocals. Now not being a major fan of growling or screaming, it's ok in small doses, but tonight, the MPs singer sounds a lot more comfortable with the harsh vocals. For a band that has not played often, they don't move about much, but that will change the more they play, you could see them relax more as their set progressed. Again, as a new band they should be proud of tonight's performance. There was also a healthy crowd in for these youngsters, a smattering of proud parents and friends who sang along helped with the nerves on stage. Will Mercy Prevails make it in the music business? Who knows, every other band out there knows how difficult it is. If they put the same effort in as they did tonight, they are in with a chance. There is one thing I am 100% sure of, when other bands see and hear the young lady on drums, every single one of them will be knocking on here door. Lets get one thing clear here, I am not suggesting that the young drummer should ever leave her band, far from it, every band gets better and bigger with loyalty within, I am saying is this young lady will have a lot of offers coming to her door, and not just local bands. YES she is that good, and I'm not the only one who said so tonight. Burning the Dream are a five piece and are next on to the Audio stage, and another band that is difficult to pigeon hole, which is not a bad thing, like our first band, there are some melodic death/metalcore sound to them, Arch Enemy/In Flames vibes with some Judas Priest thrown in too. Unlike our opening band, Burning the Dream do not build their performance, they are on it from the first note. Being a support, they too are restricted by time, so what half dozen songs do we get to hear tonight? If you have read my Acid Reign review, you will have read how difficult it can be to get to see a setlist, this time however, because I was present for the soundcheck, I got a glimpse of tonight's setlist. "One Shot, One Kill" kicks off a blistering set, followed by "Name Yourself". Chat between the band and crowd is sparce, but considering it is a 30 minute set, it is understandable. "Strongbow" and "Who Are We" follow rapidly, which leaves "Rebirth" and "Requiem" as the final 2 songs, pounded out with an intensity set up for KURO to take over. During the break the atmosphere in Audio changes, no actually the whole dynamic changes, we have had two heavy metal bands, now we move to our headliners, the anticipation is at frenzy level. KURO have a unique intensity about them. I have been lucky to have seen the bad progress from the very beginning, when it was duo, Andrew on vocals and occasional keytar, and Jb.Storm on bass, they are now a four piece with David on drums (another great drummer) and Robbie on guitar. Over the years they have had a couple of known guitarists play with them, Gabriel Lennox from Glasgow band Seraph Sin and more recently with Industrial legend En Esch. Kieran Robertson, who carved out a reputation touring in America and becoming former Queensryche legendary frontman Geoff Tates guitarist has also played with KURO. KURO have spent the last couple of years on the road building a reputation and fine tuning their sound. The last time I saw them they were one of the support bands for Industrial stars Combichrist. As they take to the stage there is the usual roof raising noise from the Audio crowd. There is a change onstage since the last time I saw KURO, not membership but a slight change in appearance, ok, one of the band has a change in stage gear, bassist J.b Storm has ditched the heavy black and white make-up, appearing more "natural". His persona has also changed, in the past, while onstage, he was always aloof. I have joked with him many times that one day I'd catch him smile onstage, he was rather adamant, in a fun way, that would never happen, pity we never made a wager, because he was grinning like the proverbial Cheshire Cat all night. Frontman Andrew glides onto the stage like a train on rails oozing flamboyance, his face make-up that any of the worlds super models would be proud of. The bands sound is a lot tighter than the last time I saw them, which was a year or two ago, everything is a lot tighter, well not J.bs facial expressions lol. After a couple of songs we have our first chat to the crowd. Andrew rhymes off a list of personal pronouns and states that everyone is welcome and safe at every KURO gig, to be honest, that should be the case for every band and every gig. KURO have a 14 track setlist, I have to admit it's difficult to pick out individual, stand out songs because they all stand out, however, there are two that stand out more for me, "I Hate You" and "Wake Up & Choose Violence" two songs that have deep negative connotations. This is like modern day social media "clickbait" posts, you either ignore them and make up your own meaning, or you dig into the actual lyrics and then take from it. A few years ago I saw Nick Cave doing a "Spoken Word" tour, he said something that makes perfect sense, but not many bands say the same, he said "once the song is released and out there, it is no longer mine, you decide what it means to you" I keep saying I am not a reviewer, I am a photographer, but I continue to hope that I give a honest opinion on what I remember, it might not be 100% factual on what happened timewise, but I hope it can give you a mental picture of how I see what happens onstage while I am trying to capture the band enjoying what they are doing. As always, if you don't know any of the bands above, even if you do, head on over to your favoured social media platform and have a look, you never know, you might find something new to add to your daily playlists. See you at the barrier. Photos by Jai Dee Photography

Released on 7Hz Productions.

Set for Release on September 4th via Frontiers Music Srl

Billed as “40 Years of Rains … and 65 of Disgrace”, Tyla’s Dogs D’amour brought their latest tour to the Voodoo Rooms in Edinburgh as their second home of Bannerman’s was still undergoing repair for water damage and pre-booked dates had to be switched to alternative venues. Located on the other side of Princes Street (tucked in behind the Cafe Royale and Guildford Arms - both fine pubs in their own right) we were on different territory and trading the Old Town for the New Town tonight; and at £10.40 for a glass of wine, I was unsure if a bed was included … sadly, it wasn’t. However, as (Spike and Tyla’s) Hot Knives would also be playing and it was no less than Tyla’s 65th birthday, we had the makings of a special (if more expensive) night with fans attending from all over the U.K. and beyond. In the mid to late ‘80’s, and their early and chaotic days of “smoke, sniff, drink, swallow and repeat”, the Dogs D’amour carved a short, but unforgettable trail of debauchery and joy around the world. Propelled along by their founder Tyla’s unique and unrivalled love songs, tales and lullabies from the gutter, delivered through his characteristic street poetry with heart proudly worn on sleeve, few then would have imagined Tyla would still be alive, kicking and leading the latest incarnation of the Dogs 40 years later. Fewer still would have imagined how good they’re sounding. Make no mistake, Tyla’s Dogs D’amour (MMXXVI) are a fierce live band and also probably the heaviest and best I’ve heard them. Mirroring the revolving line-up of the Hot Knives, and reflecting changing professional or personal commitments, a number of line-ups have played with Tyla over the last couple of years and sometimes you don’t know which you’ll get from gig to gig. However, the current tour which has seen them play all over the U.K., in many venues new to them, has seen the emergence of a more stable line-up which to my ear is musically the best they’ve sounded for a while. While Tyla is still at the centre and holds everything down with his beloved Gretsch, Jamie Turnbull, the band’s Edinburgh-based producer, lover of grunge and who also played guitar on Tyla’s most recent album ‘Gilding the Lily’ has brought a new dimension to the band on guitar live. Playing his Les Paul, the sound, as you may expect, is fuller, meatier, rawer and rockier than you might expect of the Dogs and making them sound more urgent. Just as importantly, he also knows the value of a song and he avoids guitar histrionics with his playing complementing and not over-powering things. After missing a few gigs it’s great to see Matty James Cassidy back on bass with Ace Carlton emerging as their regular drummer. Individually, they’re all really good musicians, but gel brilliantly as a band. And watching them on stage, they look re-energised. With main billing being given to the Hot Knives (which tonight would take the form of the band plus Spike), Tyla’s Dogs d’amour supported themselves and played a short celebratory set of fan favourites - ‘Last Bandit’, ‘Firework Girl’, ‘I Don’t Want You To Go’, ‘Heroine’, ‘Billy 2 Rivers’, ‘What You Do’, ‘Satellite Kid’ and ‘Drunk Like Me’. Struck as I always am when I hear these songs, I never tire of them. They still sound fresh, never stale. They lift my mood when I’m down and life can feel too much. Songs which will tattoo their words and melodies on your soul and not let go. If the air conditioning was working, it was completely overwhelmed by another night of really high temperatures with the bar or hallway outside the gig room providing welcome air and respite from the heat - venues in Scotland are not built for this. But what I can say is that Tyla’s Dogs D’amour sounded just as good both inside and outside the gig room. Fighting the heat and in the spirit of the World Cup, the band took a ‘hydration break’ (possibly involving alcohol …). Without boring you with the details, as much as I’d have loved to stay for the Hot Knives’ main set, my health hasn’t been great recently and combined with the heat, I knew when I was beat and left the gig. To anyone who knows me, not an easy choice. In doing so, missing out on Spike and Tyla playing songs from one of my favourite albums, lots of banter and a great and emotional cover of and crowd singalong to ‘It’s a Heartache‘ in memory of Bonnie Tyler who’d died overnight (you’ll find it online). Another night of great entertainment. Glass raised. GMcA

I’ve got to be honest, I don’t really know anything about Cancer Bats. I’ve heard of them (obviously!), and know that their music is categorised as hardcore punk - not really my scene given I’m usually geeking out over some classic prog or 70s rock. But I adore Black Sabbath, and these Canadians clearly do too, having toured intermittently as Bat Sabbath since 2011. So I’m here to see what they’ve got, and to enjoy some of the finest songs in metal, assuming they’re not too far removed from the originals! But first, Kent quartet Sun Messiah are here to warm up the room. Not that it needs a great deal of help, given the Booking Hall already feels much like the interior of an oven this evening! With their powerful, doomy riffs, and some-time dual vocals reminiscent of Alice in Chains, Sun Messiah successfully meld their influences into something unique. Occasional guttural growls give extra weight to metal that is intricate and intense, the twin guitar mastery enhanced by an impressive rhythm section who cleverly work in some off beats, throwing my head-banging attempts in the most pleasing way. And then there’s Battlesnake. A spectacle unlike anything I’ve ever witnessed, they are undeniably bonkers and utterly brilliant. From their matching stage robes which look like something the Pope might throw on when he’s in the mood for a bit of sparkle, to Priest-like bangers that speak of mysterious ‘Motorsteeples’ and ‘Pangea Breakers’, watching them is an absolute joy and has me smiling ridiculously throughout. Vocalist Sam Frank is particularly dynamic, fully embodying the role of some reptilian overlord as he sticks out his tongue, leaps off the drum kit and commands that we put our horns on our heads. It’s hard to know where to look given the energy of the six men on stage, though I feel it’s best to ignore the budgie smugglers that all of them seem to be harbouring beneath their costumes! Easier said than done when keytarist Billy O’Key and Frank strip down to theirs and are paraded around the room Angus Young style during a raucous ‘Let There Be Rock’. I suspect this venue doesn’t really know what’s hit it, but everyone seems to want more. The anarchic presentation, hard riffing guitars and outrageously catchy choruses (altogether now… ‘I Am the Vomit!’) make Battlesnake unforgettable. When Bat Sabbath tear into ‘Children of the Grave’, I’m initially a bit thrown by Liam Cormier’s vocals, which are pretty far from Ozzy’s melodic delivery, and more of a barked shout. But I can’t argue with his energy and enthusiasm as he asserts that we are here to “worship the Gods of metal known only as Black Sabbath”. And it’s impossible not to enjoy these songs. Remaining fairly close to the source material, though occasionally a little faster and more aggressive, I love Cormier’s prolonged growls of “YES!” into the microphone between tracks, an audible appreciation for the music he’s interpreting. There are nods to Ozzy, in guitarist Jackson Landry’s tasselled jacket and Cormier’s cape, but this is no cheap imitation, rather an unapologetic celebration that barely pauses for breath. All the essentials are in place, a frantic ‘Supernaut’, brutal ‘Electric Funeral’ and relentless ‘Symptom of the Universe’. I look around me in wonder that songs written some fifty years ago can still hold so much power - ‘Paranoid’ still sends everyone crazy and ‘Iron Man’ holds up as one of the most iconic riffs of all time. As ‘War Pigs’ blasts into the night, I head off to catch my lift home, possibly several pounds lighter than when I arrived (well… we live in hope!). My hair is soaked, my T-shirt needs wringing out and I ache from my head-banging excursions; indicators of a pretty good night I’d say! The Bat Sabbath UK tour continues, check out the remaining dates here:

MASSIVE WAGONS Release New Single “Story Of My Demise” Out Now via Reaper Records

Well now, what do we have here? Well for starters we have a glorious classic rock sound that would not be out of place on a Bad Company album; think big guitars, bigger harmonies and some immaculately cultured and placed Hammond swirls. Secondly, and this is absolutely what made this pop out of the pack of new songs I’ve got to listen to, we have the glorious voice of Matti Alfonzetti! Yes, the crown jewel of Sweden’s hidden gems is back behind the mic and he’s sounding mighty fine. In the Wind is out now and is the lead single from the four-track EP that is set for release on the 18th September….if the single is anything to go on, I suspect you’ll be hearing from me again real soon. Much love SS Black Blood Sthlm tracklist: 1) In The Wind 2) In Know You Believe 3) Fallen Angel 4) Holy Man Black Blood Sthlm line-up: Matti Alfonzetti – Vocals Stefan Bergström – Guitar Jarmo Lindell - Bass Johan Kullberg - Drums

One of the UK's current rising young rock bands, The Karma Effect have chosen a great setting for a promo gig. The Gibson Garage is covered with new and vintage Gibson guitars, and all the gubbins that goes with them. As a very guitar-driven group, the Karma Effect are in their element here. Apparently, this is their third time at this venue, so it's almost becoming a residency for them. As they hit the tarmac running, with the first few songs fired off with Gatlin Gun ferocity ("Dangerous Love/"Wild Honey"/"All Night Long"/Wrong Again"), it's very clear they are well oiled machine. Immediate comparisons are The Black Crowes and Thunder, and that's a fine compliment. Now on their third album, their current line-up is Henry Gottelier (Lead Vocals/Guitar), Robbie Blake (Guitar), Nate Keevil (Bass/Vocals), Tom Pitt (Keyboards/Vocals),and Alan Taylor (Drums). They've recently breached the charts with their new album, and it's not tough to work out why. The songs are there, the performances are there, and so is the rapport with the audience. Henry has a very strong voice, and definitely has the rock star demeanour. The rhythm section is very locked in, and also slips in and out when needed (Oooer, Matron). I'm also very impressed with Keyboard player Tom Pitt. Very deft, and even played with one hand a couple of times whilst talking to people. Very cocksure. (Ohhh, STOP it!!!!). The Guitars of Robbie and Henry intertwine very well, too. "River" and "Steal Your Heart" keep the ante at the top end, and in truth, the set really doesn't dip at all. It's nice to see a young set of lads keeping the classic rock oeuvre close to their hearts and chest wigs. As I leave the venue, I'm left wondering if Chris Robinson and Luke Morley are more than just good friends..... Phone photos by Matt Wisdom

OUT NOVEMBER 6, 2026, VIA FRONTIERS MUSIC SRL

‘Eureka’ is an album that could have been destined to exist only in the memories of the men who made it. Unreleased as the result of a record deal that wasn’t to be, all remained quiet on The Western Front for some forty years. But now, the master tapes have been dusted off and restored (or perhaps unearthed from the ground, as suggested by the cover!) with ‘Eureka’ finally set to debut on the 10th July. If you’ve not heard of The Western Front (and really, why would you have?), you’ll certainly have heard of Scott Gorham, who lends his guitar playing prowess to the project, the result of a collaboration with high school friend and fellow guitarist Marty Walsh. But there’s little of Thin Lizzy in the smooth, AOR sound that this quintet deliver so well. Opener ‘The Law of the Jungle’ could be mistaken for a forgotten Toto track, the lush harmonies and sparkling keyboards introducing an album that feels warm and familiar from the first listen. Recorded between 1983 and 1984, songs like ‘Set Me Free’ and ‘Danger’ undoubtedly feel lifted from that time, but in the best possible way. A time when melody and big choruses mattered, and it was important to have a frontman who could really sing. Richard “Moon” Calhoun certainly fits that bill, bringing soul to ‘1000 Nights’, and passion to the grooving ‘Just Go’. Sometimes reminiscent of Night Ranger at their anthemic best, the soaring chorus of ‘If I’m the One’ feels made for arenas, as does the key change that propels ‘Rain’ to a satisfying conclusion. Impossibly catchy, even when you suspect they might not be trying, fans of FM will find much to enjoy in the epic balladry of ‘I Would Rather Be Lonely’ and the brooding ‘Heartland’. An AOR lovers dream, ‘Eureka’ should have been remembered as an 80s classic. Instead, it will be launched into a world that no longer seems to value brilliant song-craft, electrifying guitar solos and powerful vocals. But for those of us who still do, it’s an album that deserves to be heard, a eureka moment that leaves you wondering how something this magnificent could have been left to be forgotten.

At a time when so much of our activity is conducted online, it was good to see an old-fashioned (and long) queue of fans gathered early outside the O2 Academy in Glasgow in advance of ‘Doors Open’, eager to get a good spot in the venue to see tonight’s acts. No playing it cool and turning up just as the bands hit the stage. For tonight we were here not just to see and pay homage to a singer, musician or band, but to a musical legend and icon who broke the mould, changed the face of rock and punk music forever and became a role model for women all over the world. How many can say that? Sixteen years since their last headlining shows in the U.K., Joan Jett & the Blackhearts were playing the opening night of a 5-date U.K. tour in Glasgow and were also on the cover of the latest issue of the leading punk magazine Vive Le Rock. THE MEFFS Continuing the punk theme, support was provided by The Meffs who I hadn’t seen live before, but are developing a reputation as one of the most exciting U.K. punk bands in years and have been working with Frank Turner. Opting for simplicity, The Meffs are a likeable, but ferocious two-piece formed of Lily on guitar and vocals and Lewis on drums. While some others have made a success of this or a similar format (The White Stripes, Royal Blood and The Courettes), it’s not without risk, as what can sound good in the studio can sometimes sound thin, and lacking depth, variety or other musicians when played live. As an old 1920’s Art Deco cinema with the seats stripped out of the stalls and a high ceiling, the O2 Academy can be a cavernous and unforgiving space. But, tonight The Meffs filled the stage and every inch of, and crevice within, the venue with their sound and own brand of socially-aware punk/noisecore. Playing a 30-minute energetic set, including ‘Stamp It Up’, ‘Business’, a cover of The Prodigy’s ‘Firestarter’, ‘Clowns’ and ‘Broken Britain, Broken Brains’, The Meffs are fierce, intense and Glasgow took them to their hearts. Speaking between songs, Lily mentioned how the south of England is a horrible place just now. Unlike the friendly playing off of one city’s or country’s audience against another which some bands can engage in, this felt different and due to the culture of hate being created by the far right, with The Meffs proudly declaring themselves both anti-war and anti-fascist, giving the audience even more reason to love them. JOAN JETT & THE BLACKHEARTS As the lights went up and the crew removed The Meffs’ equipment and prepared the stage for the main act, the feeling of excitement was thick in the air. Looking around, I was also struck by how diverse tonight’s audience was beyond the mixed age ranges. Music in the U.K. was quite tribal in the 80’s, but where there once were tribes we now have communities and Scotland’s rock, punk and LGBTQ+ communities were all out in force tonight lending to one of the most inclusive gigs I’ve attended. More gigs should be like this. At the risk of mansplaining, the significance of what Joan Jett did can’t be over-stated, but it does need repeated for younger music fans who might not be fully aware just how much she did or for some older male rock fans who may be reluctant to recognise this. Billed as ‘25 years of Bad Reputation and I Love Rock’n’Roll’, the tour is in celebratory mode for two great albums. While the ‘I Love Rock’n’Roll’ album was released in late 1981, the single of the same name wasn’t released until 1982 where it spent 7 weeks at No. 1 in the US, selling over two million copies, and reached No. 4 here in the U.K. Since then, and at the time of writing this review, ‘I Love Rock’n’Roll’ has been streamed 692,576,020 times on Spotify. While not the highest streamed rock track, it is probably one of the most recognisable rock songs ever released. Rock was still on the fringe of mainstream music in 1982. At the time, rock was dominated by Motörhead and AC/DC, Whitesnake were still a blues rock band, Iron Maiden’s breakthrough album ‘Number of the Beast’ was still to be released a couple of months later and this was years before rock music peaked with mainstream popularity in the late ‘80’s when Guns’n’Roses, Bon Jovi, Def Leppard, Whitesnake, Motley Crüe and others became massive. Joan Jett took rock music mainstream. She did this as a woman - at a time when the industry and many within the male-dominated rock scene (managers, bands and fans) didn’t think women could do this. She did this with (punk) attitude. And she re-wrote the rules, changing the lyrics of the Arrows’ ‘I Love Rock’n’Roll’ song released in the 70’s from being about a guy picking up a girl, to a girl picking up a guy. Come on, you know the words - “I saw him dancin’ there by the record machine, Knew he must’ve been about 17”. This was about female empowerment and Joan Jett changed rock and punk music forever, encouraging and empowering women to play music. Here endeth the history lesson and back to the gig. The already packed stalls became more packed as stage time approached. A massive roar went up as the lights went down and the intro tape started. Longer than most intros, anticipation only increased, teasing us as shots of Joan and the band from throughout her career were projected on to a large screen filling the back of the stage as the band took their places and then opened their set with ‘Victim of Circumstance’, the first of six songs from the ‘I Love Rock’n’Roll’ album to be played over the course of the set. Barely pausing for breath, the band launched into playing ‘Cherry Bomb’ and the audience erupted. Only two songs in and hearing The Runaways’ classic song would take some beating. Originally released on ‘Bad Reputation’ in 1981, their cover of Gary Glitter’s ‘Do You Wanna Touch Me? (Oh Yeah)’ followed and was really well-received. Rock and punk music have regularly sought to provoke, be controversial or shock. It was unclear if this was the intent given developments in the years since then, if they were just playing it as they’ve done over the years or were aware of the latest charges coming through this week. Personal view - there are other songs from this album which could be played instead. While weighted towards ‘I Love Rock’n’Roll’ and ‘Bad Reputation’, the 20-song set included songs from albums throughout her career along with the Springsteen-written ‘Light of Day’ from the soundtrack of the movie starring Michael J. Fox, and a powerful cover of The Replacements’ ‘Androgynous’ which Joan volunteered she liked playing as she could really relate to the words. As with most touring US acts, the longer things continue with their current political administration, the more they feel the need to speak out and voice their concern about what is happening and being normalised in their country. As such, Joan paused between songs to read out a statement which she had prepared before playing ‘Change the World’. The music continued with a couple of songs from her most recent studio release (the Mindsets EP (2023)) and another cover off of ‘Album’, Sly and the Family Stone’s ‘Everyday People’. And then THAT riff and song started. As would be expected, ‘I Love Rock’n’Roll’ created bedlam. For many acts, the question might then be “how do you follow that?” But, when not played as an encore, set opener or set closer and sandwiched between other great songs, the Blackhearts just kept playing and followed it with a run of the sing-song rock’n’roll lullaby of ‘Crimson and Clover’ then the anthemic ‘I Hate Myself For Loving You’ and ‘Bad Reputation’ … reminding us, if it was needed, that as big a song ‘I Love Rock’n’Roll’ is, Joan Jett & the Blackhearts are much more than a one-hit wonder and have a large back catalogue of great material. While we’re all getting older, and her vocals have changed a little, this was top-quality musical entertainment. To some, their music may seem formulaic. But when that formula is gold plated, why change it? Iconic glam-influenced rock’n’roll with punk attitude, big guitars and even bigger choruses to sing along out loud to. Another fantastic gig providing a rare chance to see a genuine rock and punk icon, supported by one of the most exciting emerging bands in U.K. punk. SETLIST Victim of Cirumstance Cherry Bomb Do You Wanna Touch Me? (Oh Yeah) You Drive Me Wild Change the World (I’m Gonna) Run Away Light of Day (Make the Music Go) Boom Fake Friends Androgynous Oh Woe Is Me Lie to Me Love Is Pain Long Time If You’re Blue Everyday People I Love Rock’n’Roll Crimson and Clover I Hate Myself for Loving You Bad Reputation GMcA