Album & Live Reviews

The year 1980 is best remembered for some major world events, Former actor Ronald Reagan was elected US president, we lost John Lennon to an assassins bullet, the Solidarity movement in Poland began the fall of the iron curtain and we met Pac Man for the first time. In the musical world the NWOBHM was exploding across planet and albums that became synonymous with the genre hit the shelves of record stores. Iron Maidens self titled debut album, Judas Priest British Steel and Saxon's Wheels Of Steel. Saxons second album delivered what were to become some of the tracks of a generation of leather clad youths, 747 Strangers in the Night, Motorcycle Man and the title track itself which would become an anthem that has spanned decades. The was of course the Hell Fire and Damnation tour to support the latest release but to celebrate 45 years since the WOS release the band decided to play the album in its entirety. Possibly the last time this would happen. As if that was not enough tonight's support act was the German legend UDO Dirkshneider who back in 1983 hot on the heels of the NWOBHM boom saw his band Accept release their 4th album, the magnificent Balls To The Wall. I remember as a fresh faced 15 year who had gotten into metal via Maiden, Saxon, Priest and the Scorpions I was given a tape to listen to, the minute that riff of Balls to the Wall hit I was hooked, it was hard heavy and loud. So tonight's double treat was Dirkschneider and his band also playing the Balls To The Wall album in full. His band includes former Accept band mate Peter Baltes and his son Sven Dirkschneider on drums. If anyone has any doubt whether old school heavy metal still has a place in the musical world then look no further than a sold out 02 Academy, 2550 rockers of all ages are packed in, some of them would be mere twinkles in their fathers eyes when WOS was released but they are here tonight, teenagers alongside 60 odd year old men, all joined by the love of metal. As the lights dim that iconic riff from Balls To The Wall kicks and the its clear a good percentage of those in attendance are fully aware of this album. UDO takes the stage complete with the white gloves he wore on the original Balls To The Wall tour and his trademark camo jacket. Its hard to imagine that the combined age of both of tonight front men is 147 years, UDO is 73 and Biff is 74, that matters not a jot as neither have lost their voice in the slightest. UDO growls his way through the iconic hits from the album, London Leatherboys, Head Over Heals, Love Child, Losers and Winners and finishing with the slower Winterdreams. An encore is inevitable and we get the German folk music intro to Fast As A Shark, Its a properly heavy tune and the crowd sing along loudly before the Germans take their leave with the gigantic inflatable Dirkschneider balls still bouncing around the arena. A short change and the lights dim and Saxons into kicks in, The large curtain drops and we are off into the title track from the latest album Hell, Fire and Damnation. Power and the Glory and Sacrifice complete the opening salvo. Brian Tatler has added a different dimension to the band and could celebrate being named the HRH Axeman of the year just a couple of days previous. Along with Doug Scarrett the complete that twin guitar attack Saxon are known for. As ever Nibbs Carter and Nigel Glockler complete the rhythm section. Backs to the Wall from the bands debut album is followed by Never Surrender, Madame Guillotine, Heavy Metal Thunder and no Saxon show would be complete without Dallas 1pm. That signaled the start of the Wheels of Steel album in full. An album that was remembered by Biff as coming out when there was no mobile phones, no social media, no cd's, Only music magazines like Kerrang and Sounds and the radio, the band even had to hang around a telephone box to take calls from their manager, a simpler time and one could argue a better time. The audience are in full voice for the big hits mentioned before but also with other classic metal master Like Suzie Hold On and Stand Up and Be Counted. Its cannot be passed over the Biff Byford has had his own battle of late and undergone some intensive treatment but his voice is as strong as its ever been and he reaches every note with perfection. A true living legend of Heavy Metal. The encores are iconic Saxon, Denim and Leather might just be the most heavy metal song about heavy metal ever and The Bands Played On, A second encore see's a slight deviation from the set list as the band treat the Glasgow crowd to and extra song with Strong Arm Of The Law and finally we end with Princess Of The Dawn. Never let anyone tell you Heavy Metal or Rock music is dead as long as teenagers are headbanging alongside their dads to iconic bands they are truly Keeping Rock Alive!!

Only a few weeks ago, I’d never heard anything by Young Gun Silver Fox. But when I saw the duo were set to play Olby’s in Margate, I recognised their name from something I’d read in Classic Rock Magazine several months ago; an article which heralded the pair as revivalists of the 70s West-coast sound that is so appealing to my ears. With that in mind, I purchased a ticket and started doing my homework, working through a catalogue of albums that proved to be something of a goldmine. I figured Yacht Rock would be a fairly niche proposition for the people of Margate in 2025, so I’m surprised to find the venue buzzing with life. A modest space with a capacity of just 340, Olby’s is already filling up nicely as a DJ blasts a selection of classics from the likes of Steely Dan, Toto and Christopher Cross, all of whom can be heard in tonight’s headline act. There’s less of a distinguishable demographic than I’m used to, but quite a few more Hawaiian shirts! I feel disappointed for support act Smith & Liddle, who are largely drowned out by the noisy chatter of people accumulating around the bar. It’s a shame, as their gentle, breezy pop is quite beautiful, centred around the lovely harmonies of the pair. There is something infinitely pleasing about the blend of a male and female voice, exhibited best here during ‘Eyes on You’, a song that envelops you in wistful dreaminess. Though their name is a bit of a mouthful, it falls into place when you learn that Young Gun Silver Fox is composed of British singer-songwriter Andy Platts (the 40-something ‘Young Gun’) and American multi-instrumentalist Shawn Lee (an unmistakeable ‘Silver Fox’ with his flowing white locks). Augmented this evening by the formidably funky rhythm section of bassist Paul Housden and drummer Adrian Meehan, the group bring the sunshine to a dark November night with a repertoire unashamedly indebted to the 70s and an image to match (just check out those snazzy shirts and the cactus that adorns the stage!). Opener ‘Winners’ demonstrates the exquisite vocal harmonies and smooth, laid-back vibes that these men have perfected. The gently grooving ‘Kids’ follows, and it’s impossible not to move to the lilting bass. In fact, I’ve seldom seen an audience so engaged; as I glance behind me during ‘Rolling Back’, it seems that everyone is dancing, singing and smiling. No surprise really, given that it’s one of the most infectious songs I’ve heard in a long time, with a chorus that is destined to remain lodged in my brain for several days. Though all of the men on stage can really sing, it’s obvious why Platts takes the lead. Stationed behind his keyboards, there’s no hiding an incredible voice that is both warm and melodic but also full of power. His soulful delivery of ‘Love Guarantee’ is a showstopper, and contrasts brilliantly with his falsetto that dominates the uplifting ‘Born to Dream’. But arguably, the most affecting moments are when the harmonies kick in, Lee and Housden elevating the performance to somewhere quite magical. Lee radiates a sense of joy, and shares a noticeable chemistry with Platts. It’s an evening of many special moments, one of the best when the duo convene centre stage, sitting side by side for a stripped back version of early single ‘You Can Feel It’, accompanied only by their acoustic guitars. Platts engages in an enthusiastic call and response with the audience, his perfect vocalisations possibly somewhat ruined as we do our best to sing them back at him! Somehow melding a little of so many bands that I love, there’s some Crosby, Stills and Nash about the mystical ‘Mojo Rising’ that I’m desperate to hear again the moment it’s over. But it’s Steely Dan that I can hear in the quirky ‘Underdog’, a jazzier excursion celebrating the downtrodden. Impressive musicians who make it look very easy, and are possibly overlooked as a result, they allow themselves opportunities to stretch out on ‘Tip of the Flame’ and ‘Kingston Boogie’. As Young Gun Silver Fox put it so eloquently in the gloriously funky ‘Stevie and Sly’ - ‘take me back to 1975, it’s where I wanna go, when everything was gold’. They’ve got a point. But with music like this, there’s no need for a time machine. It’s difficult to do justice to a gig that for me, is one of the best I’ve had the privilege to witness. Just go and see this band, you can thank me later. SETLIST Winners/Kids/Rolling Back/Burning Daylight/Late Night Last Train/Love Guarantee/Born to Dream/Just for Pleasure/The Greatest Loser/You Can Feel It/Baby Girl/Mojo Rising/Simple Imagination/Underdog/Lenny/Stevie & Sly/Tip of the Flame/Long Way Back/Kingston Boogie

Welcoming Pendulum back to Edinburgh after a 15 year hiatus and playing the same venue from way back when, the Corn Exchange was alive with that electricity that only electronic rock with some drum and bass thrown in for good measure can provide. The set opens with a fiery start leaving the crowd bouncing along to "Napalm", a track coming straight out of the bands new album released August 22nd this year. Straight after, we're thrown into "Save the Cat", again from the new album and a personal favourite. The lads from Australia are sounding mighty and they lead us right into the classic "Propane Nightmares" from 2008. The crowd erupts! The 16 song set truly soars from then on, giving the good people of Edinburgh the punchy riffs and the pounding bass the band are so known for, with tracks from albums such as In silico and Immersion, there is truly a little something for everyone regardless of how long you've been following the bands progression. Pendulum seems to be one of those bands, whose appeal truly ranges from those in their teens to music lovers in their 60's and 70's as evident from the crowd here in Edinburgh! The set closes with the almighty "Watercolour", again, just waves of energy emanating from the band and infectiously into the crowd, we've seen a good few circle pits tonight, with lead vocalist Rob Swire proclaiming, "Holy shit, it's hot as fuck". We are then taken straight back to 2005, with the bands encore track, Tarantula. And what an encore it is, I don't think my feet touched the floor once. Overall, a fantastic night of dancing, good vibes and an amazing start to Pendulum's Inertia UK tour leg. Long may it continue that bands of this ilk visit the capital.

“Strewth, there’s a bloke down there with no strides on” as Paul Hogan once said in a Fosters lager advert set at the ballet. There was definitely a bit of a culture clash in evidence going into the Festival Theatre, Edinburgh for this performance by Carlos Acosta’s Birmingham Royal Ballet. As far as I could see, I was the only one in the foyer in full rocker gear, with a timely annual appearance for my Helloween 30th Anniversary Tour t-shirt paired with an Avantasia hoodie, although I did see a couple of Sabbath T’s and at least one Motorhead shirt in the cheap seats. Other than that, I would say it was largely a dance crowd. Sample overheard posh-voice conversations included; “can you even name one Black Sabbath song?” and “will the chaps from Black Sabbath actually be dancing in this?” FFS! When the curtain rose for Act 1, the first ‘piece’ was ‘War Pigs,’ which started with the well-known vocal incantation and then morphed into an orchestral version as a soundtrack for an ensemble performance of around twenty dancers, all kitted out in conventional ballet gear – no tutus, but both male and female performers were in dark leotards and tights which enhanced their superbly supple, strong and athletic bodies – so a rather more fetching sight than Biff and Saxon with their socks-in-spandex look performing ‘Wheels of Steel’ on Top of the Pops back in the day! Definitely a very impressive start. This was my second dose of Sabbath music in consecutive nights. The previous evening, I went to see another twist on some classic Sabbath songs by Californian all-female tribute band Black Sabbitch at the Mash House. Both performances started with ‘War pigs’, but that was the only song that both acts had in common and both stuck firmly to Ozzy-era material, so poor wee Ronnie James Dio didn’t get a look in. The Sabbitch girls were very impressive. Definitely a lot less choreographed, but they put on a great show in front of a rather more authentic audience of crusty rockers and young stoners, with a few Halloween nuns and ghouls. Back at the ballet, the stage was rather less cluttered for the 2nd piece, which was ‘Iron Man’, an entirely instrumental interpretation, but this time with an on-stage guitarist, who didn’t actually dance but was very mobile and at times was carried around. At first, I assumed he must be synching, but on closer inspection, he was actually playing, and quite impressive it was too and he looked the part as well. It turned out he is a London-based singer and guitarist called Marc Hayward, who has played with some Sex Pistols in The Professionals and also Miguel Montalban & The Southern Vultures. Things took a romantic turn with a passionate two-dancer performance to a toned-down and slowed-up love interlude on the ‘Iron Man’ theme, with the performers locked in an extended embrace / kiss in a quite remarkable, sensual and erotic performance, still accompanied by the guitarist. The passion reminded me somewhat of the last time I had seen a “rock ballet” in this theatre, which was a 1990s performance of ‘Billboards’ by the Joffrey Ballet company from Chicago, set to the music of Prince, which, as you might expect if the wee purple perv is involved, was more overtly sexual at times. Act 1 concluded with a more straight-forward, guitar-based and rocking version of ‘Paranoid’, which was as heavy as it got in the theatre and the only time I got a bit of a rhythmic nod on. Ironically, we had been denied hearing ‘Paranoid’ the night before due to the Black Sabbitch set over-running and the crowd being turfed out to make way for a disco, which nearly caused a reprise of the infamous late-70s ‘Disco Demolition’ night at a Chicago White Sox baseball game which saw the field get trashed as fans burnt a pile of disco records. The Sabbitch girls’ set changes nightly and they have a very good selection of Ozzy-era classics in the rotation, including my own personal favourite ‘Symptom of the Universe’ which got a rare airing and certainly made my night, alongside other un-danceable faves like ‘N.I.B’, ‘Children of the Grave’ and ‘Snowblind’. By contrast, the ballet featured some rather obscure numbers, including ‘Solitude’, ‘Orchid’ and ‘Planet Caravan’, each of which seems more at home in an orchestral ballet situation than they do on a Sabbath ‘greatest hits’ package. Act 2 of the ballet featured a great deal of spoken word segments from the band themselves, including the story of Tony’s fingertips and the origins of the band, all of which would be familiar tales for perennial readers of rock magazines. All four original members were featured and, needless to say, bloody Sharon got in there as well. The recognisable songs in Act 2 were truncated versions of ‘Black Sabbath’ and ‘Sabbath Bloody Sabbath’. I thought the former might have been a bit more of a set-piece, given its theatrical Hammer Horror themes, but I was also glad that I remembered not to blurt out “you bastards” at the appropriate moment in the latter. I would have to say that the dancing throughout was exceptional and it was thrilling to see these skilled and graceful performers in action close up, especially with lights turned right up for the start of Act 3. For sure, this was a million times better than Pan’s People dancing to ‘Fireball’ on Top of the Pops or any of the amateur crap that you get in “Rock Week” on ‘Strictly Scum Dancing’ on a Saturday night. The music in the final act was largely a reprise of Act 1, but this time with the performers wearing a variety of Sabbath t-shirts, although none of them seemed to be authentic original tour shirts, unsurprisingly, although it did not feel like cultural appropriation or sneering at the rock community. As with the cheesy “juke box musicals”, it finished with the big number, which could only be ‘Paranoid’ again, and it all wrapped up with an extended ovation. I would have to say that I thoroughly enjoyed the ballet performance and was very into it. At a push, I would say that musically, I enjoyed the straight-forward amplified rock sounds of Black Sabbitch better, but overall, the ballet was unmissable, very impressive entertainment indeed and some of the dances will live with me for a long time – a truly unforgettable spectacle that any rocker with an open mind should enjoy. Bravo.

There’s something about The Bates Motel that makes their return visits feel like a homecoming. On 30th October, the Northeast five-piece rolled back into Kinross, taking another trip up the A1 to grace the intimate Backstage at The Green with their distinctive blend of grit, melody, and storytelling. The venue, warmly lit and buzzing with anticipation, welcomed the band with open arms. From the moment they launched into the blistering opener ‘Broken Bottle and Broken Bones,’ it was clear the audience was in for a night of high-octane musicianship. Adam Forster’s drumming drove the set with relentless energy, setting the pace for a sequence of tracks that showcased the band’s signature guitar interplay and lush harmonies. ‘The Shape in the Mirror’ and ‘Put Your Hands on the Radio’ followed, the latter a nostalgic nod for those who remember the golden age of airwaves, Radios Luxembourg and Caroline, John Peel, and the Emperor Roscoe. These songs didn’t just evoke memories; they demonstrated the band’s knack for crafting tunes that feel both timeless and fresh. One of The Bates Motel’s strengths lies in their ability to shift gears without losing momentum. ‘Hold On’ brought a moment of tenderness, slowing the pace and revealing a softer, romantic side. Chris Davison; aka Bad Bob Bates; delivered lyrics with emotional nuance, backed by arrangements that allowed space for reflection. Their EP, “Songs For The Lost and Lonely”, has clearly deepened their repertoire. The set was peppered with tracks rich in local colour and dry humour. ‘Talking to Jesus’ imagined the Messiah as a country music fan, while ‘Bartender’ captured the universal frustration of trying to get served in a crowded pub. Meanwhile, ‘Let Me Be Your Doctor’ veered into cheeky territory, its tale of playing doctors and nurses had the sort of innuendo more suited to a “Carry On” film than a concert venue. The audience of course lapped it up as Chris delivered the song with that endearing charm only Geordies seem able to manage. Musical influences were woven throughout the evening, sometimes subtly, sometimes with a wink. ‘The Blues Ain’t Gonna Feed Ya!’ took a deliberate detour into Status Quo territory, riffing so close to ‘Caroline’ that one half-expected Francis Rossi to burst through the doors and demand royalties. Yet layered atop that homage was Chris’s own guitar work; ferocious, fast, and full of flair, harking back to the earliest Dr. Feelgood albums and good enough to make Wilko Johnson grin from the afterlife. Though Chris/Bad Bob commands centre stage, this is no one-man show. Ally Lee’s guitar work; whether electric, acoustic, or dobro; was exceptional, complemented by tasteful keyboard textures and effects. Dave Coates anchored the sound with both electric and electric upright bass, while Les Young’s percussion added rhythmic colour and depth. His harmonica, when unleashed, brought a raw Southern blues edge that cut through the mix with purpose. Chris’s songwriting continues to straddle the line between the everyday and the dreamlike. Songs like ‘Sundown in Santa Cruz,’ ‘Sausalito,’ and ‘Amador’ offered glimpses of California escapism, contrasting beautifully with the grounded tales of Northeast life such as first encore ‘Bridge Street in the Rain’ (the band never left the stage we just imagined they did). They say lightning never strikes twice, but The Bates Motel defy that cliché. Their return to Backstage was another triumph; an evening of superb musicianship, memorable songs, and a band clearly relishing every moment on stage. They’ll be back next spring. Spread the word: they’re more than worth it.

Music can have an amazing ability to transport you back in time. Adam Ant’s gig last night in Glasgow certainly fell into this category and took me back to my pre-teens when I was obsessed with Adam & The Ants - my first experience of proper fandom. Joining Adam on some of the tour is Toyah, whose connection with Adam dates way back to their involvement in the film ‘Jubilee’. Toyah’s shows in recent years have often been padded out unnecessarily with covers, but I’m pleased to report that tonight’s set was all her own material - and all the better for it.

It seems that for me, getting a ticket for Margate Rock Festival is effectively scheduling in a nasty cold for late October. I spent the day at last year’s event struggling to breathe through my nose, so I was looking forward to experiencing the festival this with clear sinuses this year. No such luck. But armed with a pocket full of tissues, Soothers and paracetamol, I once again made it almost to the end. The festival looked quite different this year - still housed in Dreamland amusement park, it had been moved to the venue’s ‘Roller Room’, a quirky event space that usually plays host to retro roller discos and features an original arched Art Deco ceiling (if you’re into that kind of thing). It’s a decent space with plenty of places to sit down when your legs are feeling a bit weary, but it’s cold. Really bloody cold. And though I imagined it would warm up as more bodies filled the room, I can confirm that it didn’t. Thank goodness for my winter coat which I retrieved from the cloak room a little earlier than anticipated! There’s just one stage this time around, the newly christened ‘Ozzy Osbourne Stage’ in tribute to the Prince of Darkness, and his influence, or at least that of Sabbath, seems to loom appropriately over proceedings. Whether it’s the monolithic riffs of Margarita Witch Cult or the occult imagery of Lucifer, it’s easy to trace a thread back to the originators of heavy metal. German trio Samavayo clearly know their way around a heavy riff, starting the day right with the sprawling ‘Hate of Thousands’, somewhat reminiscent of Queens of the Stone Age and probably best described as stoner rock. Andreas Voland is an unusually melodic bassist, all over the fretboard and really bringing something special to these songs. His brother Stephan is similarly adept behind the drums, showcasing some devilishly technical offbeat trickery during a thunderous ‘Sirens’. Though brief, it’s a diverse and interesting set; Where ‘Talagh’ is unusual, cyclical and sung beautifully in Persian by frontman Behrang Alavi, ‘Keep on Rollin’ is unexpectedly catchy and boasts a chorus that marks the first singalong of the day. It’s great to see some local acts on the bill, and Atravion certainly seem to have a following here. In Kelsey Graham, the band have an engaging and theatrical frontman; a singer rather than a screamer, there’s something of Bruce Dickinson in his occasionally operatic delivery, albeit given a distinctly modern update. Guitarist George Potter occasionally lends his more aggressive vocals, giving this melodic heavy metal a sharp edge. I’ve heard a lot of good things about local foursome The SuperMicks, who I’m happy to report, are a lot better than their name suggests! With a host of catchy songs and energetic stage presence, there is much to appreciate in their uplifting, no-nonsense rock. ‘We Don’t Need Work’ waves a joyful middle finger at the man and frontman Wayne Jones’ likeable lad persona ensures that the crowd lap it up. Flying in from the Netherlands to make their UK debut, TankZilla give one of the knockout performances of the day. With eyes closed, it’s hard to believe there’s only two men on stage. Peter van Elderen is an intense presence, knocking bludgeoning riffs from his guitar whilst hollering into his microphone with real power. He’s the kind of frontman who doesn’t shy away from a bit of eye contact, prowling the stage with a confidence that makes him utterly captivating. Drummer Marcin Hurkmans is rightfully positioned at the front of the stage, laying down the rhythm that makes songs like ‘Rubber Man’ and ‘Highway’ really groove. Even with my earplugs in place, these guys are loud. Royal Blood? Nah, I’ll take TankZilla thanks. There’s been a lot of excitement around The Motherz, a modern supergroup made up of virtuoso guitarist Miguel Montalban, bassist Cedric Pfister (better known as one quarter of Daxx & Roxane) and drummer Jake Cook (formerly of Famyne and organiser of this very festival). It’s a band founded on friendship and the camaraderie these lads share is infectious; better yet, they sound pretty damn good together too. Though I can’t give you any song titles (I don’t know them yet!), it’s a very promising debut, Montalban’s guitar mastery setting them apart from the average power trio. Dirty, heavy and powerful, I look forward to hearing more from this band. Hailing from the home of heavy metal, Birmingham’s Margarita Witch Cult make no secret of their debt to Sabbath, even throwing in a medley of some of the band’s classic riffs in the latter half of their set. There’s more than whiff of Tony Iommi about ‘Diabolical Influence’, but the band infuse things with their own unique stamp, a blend of their three voices that is quite hypnotic. ‘The Witchfinder Comes’ rings with doom and ‘Sacrifice’ is similarly apocalyptic. There are far worse bands to sound like than Black Sabbath; Margarita Witch Cult have taken the template and created something quite magnificent. Bobbie Dazzle is utterly joyful. With her wonderful band, she is bringing a sense of fun back to rock music, a genre sometimes guilty of taking itself a little too seriously. ‘Flowers on Mars’ and ‘Back to the City’ are bouncy, good time tunes that harken back to a time when glam rock was king. Dazzle’s striking animal print catsuit and the presence of a keytarist serve to uphold the illusion that we have in fact travelled back in time. Whatever you think of Bobbie Dazzle, it’s hard to dispute that she’s armed with the most memorable songs of the day. Bad Touch are as reliably enjoyable as ever, bringing the party to Margate with the kind of feel-good anthems that appear to come naturally. Having seen the band many times over the years, shamefully it’s my first time since the addition of drummer Brad Newlands and guitarist Pete Lance, both of whom seem to have injected a renewed sense of energy. A true classic rock band, in sound and image, Stevie Westwood is a frontman capable of winning over any audience with his charisma and impressive vocals. And it’s hard to imagine many things more pleasing than singing along to ‘99%’ or ‘Baby Get It On’. Another European act deserving of more recognition here, The Vintage Caravan put on one of the most impressive performances of the day. A power trio in the truest sense, these Icelandic lads bring the fire (and the snazzy outfits!). Alexander Örn Númason’s bass is so loud that you feel it in your chest, and the riff that introduces ‘Crystallise’ is just brilliant. Though big, dynamic riffs are abundant, ‘On the Run’ shows a somewhat different side, taking some time to build and centring around an insistent hook. A truly spectacular set indicative of men who spend a lot of time on the road honing their craft. Somehow, Lucifer had completely passed me by, but the news that Rosalie Cunningham and bassist Claudia Gonzalez Diaz had joined the ranks was enough to pique my interest. Centred around the only constant member Johanna Platow, drummer Kevin Khun is now seriously outnumbered by ladies. And what ladies! Rocking the catsuits and crucifixes, I’m very taken with the imagery (and wondering if I could ever look so cool!). Despite some vocal problems that temporarily stall Platow (apparently the result of a couple of nights in a cold environment), she keeps us spellbound, and the harmonies that dominate ‘Crucifix (I Burn For You’ are the best of the day. A cover of ‘Because the Night’ is pleasingly familiar, a welcome singalong that nestles perfectly with the band’s own heavy but catchy, 70s inspired rock. By that time South of Salem finally take to the stage around 22:30 (about half an hour later than billed), the hall has thinned out considerably - perhaps the result of people having to leave to catch trains or maybe just a bit of impatience. In any case, it’s a shame, as South of Salem are left with just half an hour until curfew and are forced to headline with one of the shorter sets of the day. To their credit, there are no signs of frustration from the band as they get underway, and their show is as gloriously theatrical as ever. In terms of spectacle, they’ve got it all - illuminated coffins, scantily clad dancing ladies and even pyrotechnics. And it’s easy to see why they’re building such a dedicated following with songs like ‘Let Us Prey’ and ‘Jet Black Eyes’ striking just the right balance between heavy and catchy. Dynamic and watchable, none of the band are static, giving their all to an audience who are with them for every minute they can get. Margate Rock Festival deserves to be successful. For me, the mix of local talent, established groups and some lesser known names from Europe hits the mark and makes the festival more interesting than some of the more familiar offerings. A limited number of very early tickets for next year are on sale now - I’ve already got mine!

Phone photo by Matt Wisdom

There are perhaps some comparisons to be drawn between rock legend Glenn Hughes and Glasgow’s Sauchiehall Street. Both built their reputations as being something a bit different and special in days gone by before a slump in fortunes led to some years of neglect and decline. But whilst the famously long Glaswegian street is still very much in the middle of a facelift and revival attempt, the “Voice of Rock” has steadily continued to rise from the ashes of his 1970s heyday to enjoy a well-deserved late career renaissance, with arguably some of his best recordings, particularly in a solo sense, happening over the last 25 years. So, there’s something quite poetic about Hughes’ latest solo tour, The Chosen Years, rolling into a venue in Sauchiehall Street on a Saturday night. Two institutions, keen to show that they still have a lot to offer. Hughes is incredibly grateful to be in The Garage with his band. One thing the now 74-year-old has is class and a disarming humbleness, never taking his audience for granted and always ready to give his best as a thank you to those who continue to support him in the sunset years of his career. During The Chosen Years tour, Hughes wanted to celebrate his career from its beginnings with Trapeze, right up to the present day and his most recent solo album, the brilliant Chosen. With music from other bands and projects such as Deep Purple, Hughes/Thrall and Black Country Communion also ready to be thrown into the mix, there was potential for it to be a truly memorable night in Glasgow. For every rock legend approaching the final stops of their illustrious career journey, there’s a new breed of rockstar fighting to be seen and heard, ready to have their own shot at superstardom. Hotshot guitarist Sophie Lloyd is one such artist, seizing the opportunity with her support slot to continue a recent upward trajectory that has seen her release an EP and debut album, perform live shows and find time to be a touring guitarist with Machine Gun Kelly’s band. More recently, she performed at the Women’s Rugby World Cup Final at Twickenham Stadium, London in front of 82,000 people and an estimated TV audience of 5.8 million at its peak! With a band that included Marisa Rodriguez of Marisa and the Moths fame on vocals and Lloyd’s husband Chris Painter on drums, the guitarist wowed the Glasgow crowd from the outset with a mesmerising display of high energy, technical musicianship. Arriving onstage to the Top Gun theme before entering into a blistering set of hard rock that included instrumentals, originals from her own catalogue and some well-chosen covers, Lloyd showed that she is the real deal and very possibly the heir apparent to be the next true Queen of Hard Rock. She’s helping to keep our favourite music genre alive, so buy tickets to her live shows and support her music by buying her EPs, albums and merch. Sophie Lloyd isn’t just the future of rock - she’s the present! Glenn Hughes bounded onstage with an energy that matched that of much younger peers. You see, playing live onstage is where Hughes is comfortable. It’s where he truly comes alive, surrounded by positive energy that drives him to be the best he can be. Hughes believes that a much higher power put him on this Earth to spread love and peace through his music and to be honest, I think there’s something in that. Flanked by longtime guitarist and collaborator Soren Andersen and drummer Ash Sheehan, Hughes wasted no time in expelling some energy with the hard rock/funk hybrid of the high-octane ‘Soul Mover’, arguably one of the songs that started his late career renaissance 25 years ago from the album of the same name. The moody ‘Muscle and Blood’, with its memorable guitar riff intro and driving bass from the underrated 1982 Hughes/Thrall album, acted as a reminder of just how big that short-lived project could’ve been if things had worked out differently, with Hughes’ voice soaring across the venue with the power of a singer half his age. On this early promise, the Glaswegian crowd was in for a memorable night. We all love the classic songs - the songs that take us back to a special or happier time in life. But Hughes is still a recording artist, refusing to simply rely on past endeavours and that was clear on his latest solo release Chosen. So, naturally there would be some tracks from that album, the first being the hard rocking, yet funky ‘Voice in my Head’, with Hughes’ prominent bass dictating the song’s tempo. Then, of course, there’s the great music Hughes recorded with the supergroup Black Country Communion, represented by the brilliant ‘One Last Soul’, with Andersen and Sheehan channelling their inner Joe Bonamassa and Jason Bonham respectively. This song seemed to really connect with the Glasgow audience, which makes it ever more of a shame that the band didn’t tour more in Scotland, with only one show that I can remember (and I still have the t-shirt that no longer fits!). The next track was a special one for me, as ‘Can’t Stop the Flood’ was the song that really started me out on my journey to explore Glenn Hughes’ music when I heard it on the live recording Soulfully Live in the City of Angels. I was transported back to the first time I heard that album, when I had an impressive head of blonde hair and a waistline that allowed me to see my feet! Music really is a time and place thing and I thank Hughes, Andersen and Sheehan for allowing me to enjoy that little bit of nostalgia with a brilliant performance of the song. Then, it was back to the Hughes/Thrall album with the ‘First Step of Love’, an atmospheric yet driving rock song where Hughes and his bass take centre stage. Hughes transported us all the way back to the beginning, over 50 years ago, to some music by Trapeze with the funky ‘Way Back to the Bone’ (that was a pre-curser to some of the music he’d later record with Deep Purple) and the epic ‘Medusa’, that he later re-recorded with Black Country Communion. Musically, Hughes has very much moved on since his days in Trapeze but he’s still clearly very comfortable in that funk/soul groove of their music, as it’s the origins of his musical DNA. However, it couldn’t sound any different from the much darker, heavier music he created with Black Sabbath legend Tony Iommi on the Fused album in 2005, represented on this tour by ‘Grace’ and ‘Dopamine’. This album was criminally underrated on its release, possibly due to the rock and hard rock trends of the time but received a well-deserved re-release last year that has given it a new lease of life. In Glasgow, Glenn Hughes further proved the merits of that music with a powerful run through of the two muscular sounding tracks. Brilliant stuff indeed. The title track of the Chosen album is another modern, driving, polished heavy melodic rock song that transferred well into a live environment, whilst the groovy and funky ‘You are the Music’ brought some fun to proceedings, with the kind of shuffling and bopping in the crowd that Sauchiehall Street hasn’t seen since flared trousers and flowery shirts were in fashion. Hughes finished the main set with ‘Stay Free’, one of the newer Black Country Communion tracks from the band’s 2024 album, V. With time tight due to The Garage turning into “a fucking disco” (Hughes’ words!) at 10pm, Hughes couldn’t leave the stage prior to the encore. Alone with an acoustic guitar in hand, he performed an emotional and spine-tingling ‘Coast to Coast’, his voice faultless throughout before being joined again by Sorensen, Sheehan and Sophie Lloyd for the frantic finale, a barnstorming run-through of the Deep Purple classic ‘Burn’. It really was the only song that could end the set, as it still bristles with a power and energy that can blow the roof off venues, which is testament to the masterful songwriting within that version of the legendary band. It was an explosive ending to a wonderful evening of live music, in the presence of musical greatness. As I headed outside into a cold autumn evening in Glasgow, I was acutely aware that I’d just experienced something incredibly special. It was a kind of communion (not of a Black Country type!) with like-minded people, all there to celebrate the monumental career of a bona fide rock legend whose music has excited, calmed and healed in equal measure for over 50 years. Glenn Hughes is a special artist; soulful, funky, groovy… yet still the epitome of everything that is hard rock over the last half century. He is the energy and the soul of real, honest, rock n roll. He is Glenn Hughes. He is the “Voice of Rock” and as the man himself said before leaving the Glasgow stage… “music is the healer”.