Latest Rock News - Album & Live Reviews

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

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

Review Elaine Button - Photos Andy Bradley

Review Elaine Button - Photos Andy Bradley

OUT JUNE 26, 2026, VIA FRONTIERS MUSIC SRL

13TH ALBUM "CHAMA" OUT NOW VIA NUCLEAR BLAST

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

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

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

Live at the Cart and Horses London

Review Elaine Button - Photos Andy Bradley

R eleased 1st October 2026

NEW ALBUM "MONSTERS WE MADE" AVAILABLE 14TH AUGUST 2026

Released 26th June 2026 on Pride & Joy Music 

Zakk Wylde really is one of the most recognisable modern-day rockstars. His long hair and beard, large muscular build, funky guitar art and wearing a kilt on stage make him unmistakeable enough. Throw in his many years as Ozzy Osbourne’s right-hand man and you have a bona fide rock legend! A starring performance at this year’s Brit Awards (yes… real rock music at the Brits!) during an Ozzy tribute with Robbie Williams wouldn’t have done him any harm with the majority non-rock, trend- chasing audience and if there’s any justice in the world, some of the millions of TV viewers might even have checked out the guitarist’s very own, well established band, the hard rockin’, speaker shakin’ and altogether brilliant Black Label Society. If you needed any evidence of Wylde’s popularity with rock fans, the massive queue at his signing appearance at the Guitar Guitar shop in Glasgow prior to Black Label Society’s show in the city is proof enough. Fans young and old waited patiently to see the famously amicable rocker and judging by the number of videos circulating on social media, a fun time was had by all! But the real fun was to be found when the vocalist/guitarist took to the stage at the city’s O2 Academy with his Black Label Society bandmates Dario Lorina (guitar), John DeServio (bass) and Jeff Fabb (drums). Support acts Dark Chapel and Venom Inc brought something very different to the Glasgow audience, who had piled into the venue early on to ensure a decent crowd. Las Vegas band Dark Chapel, featuring Black Label Society’s very own Dario Lorina, were dark, heavy and loud… but the melodic and a times even bluesy side of their music meant that the attempt to start a mosh pit by the biggest haired punter I’ve seen in years (complete with football socks?) didn’t quite catch on. Still, it was a slick set of polished music and will have won them some new fans in Scotland. Venom Inc, formed by former members of late-70s metalheads Venom, were a bit more on the extreme side of heavy music in comparison, running through a set of metal originals from their two albums and very much showing they’re not simply a tribute band with Motorhead vibes. The big-haired dude definitely got the mosh pit moving with Venom Inc… and the football sock didn’t move an inch! It was 9.30pm before Black Label Society came onstage, which a few years ago wouldn’t have been an issue for this now seasoned rock and metal gig goer! But with an arthritis-wracked body and not much room to move in the sold-out crowd, I mused that perhaps 8.30pm headline slots are more my kind of thing now to prevent painful joints and much yawning! However, as the large curtain fell and jets of smoke fired into the air, Zakk Wylde bounded onto the stage, bekilted (of course) and full of energy. His stage presence and the heavy, chugging juggernaut riff of opener ‘Funeral Bell’ jolted me back to life as I joined the throngs in pumping my fist and bopping my head. The pain dissipated as the music worked its magic in the same manner as the strongest medication as I watched Wylde start his masterclass. ‘Name in Blood’ from new album Engines of Demolition continued Black Label Society’s signature sound of the darkest, heaviest, rip-off-your-face riffs but with melodic-edged choruses that will have you singing along. ‘Destroy and Conquer’ is no less heavy but has a more upbeat vibe in contrast to the first two songs, whilst ‘A Love Unreal’ reeled the audience in with the most beautiful intro that breaks into a monster riff that caused small shavings of paint to fall from the venue ceiling. Wylde’s ability to play shredding solos one minute and more emotional rock solos the next was clearly on display on the opening four songs, showing the depth of talent and skill that must’ve attracted the legendary Brummie Ozzy Osbourne back in the day. It was a breathtaking opening salvo! The more frantic ‘Heart of Darkness’ and some classic banter with the audience led to a snippet of Ozzy Osbourne favourite ‘No More Tears’, with Wylde ripping through the famous guitar solo with the same gusto as he did during his Brit Awards rendition of the song. The number of mobile phones filming the moment was testament to how special the songs is to fans before the guitarist showed his softer side by taking to the piano to play a stirring and emotional ‘In This River’, dedicated to the late and much missed Pantera due Darrell ‘Dimebag’ Abbott and his brother Vinnie Paul, with their images showing across the speaker stack. ‘The Blessed Hellride’, the pure unadulterated heaviness of ‘Set You Free’, the catchy chugginess of ‘Fire It Up’ and the headbanging, fist pumping pleasure invoked by ‘Suicide Messiah’ brought the show to a poignant tribute to Ozzy Osbourne, with the tearful ballad ‘Ozzy’s Song’ from latest album Engines of Demolition. It was an emotional moment and perhaps an opportunity for some to say a proper final goodbye to the legendary frontman, helped by a large curtain backdrop of photos of Ozzy in his heyday. But of course, no Black Label Society gig could end on a sad note, so the amps were turned up to max one more time for fan favourite ‘Stillborn’. The hordes of rock and metal fans, with dishevelled hair, sweat soaked clothes and high-pitched tinnitus-like ringing in their ears, left the venue and headed out into the Glasgow night knowing that they had witnessed something really special. You see, Black Label Society in a live setting isn’t just another live rock show. It’s worshipping at the altar of rock and metal, loud, proud and unapologetic… and Zakk Wylde is the messiah!

NEW ALBUM "COME THIS MADNESS" OUT ON SEPTEMBER 25 

Tickets will go on general sale on Friday 5 th June 2026 at 9:00 AM

Out Now via Frontiers Music Srl

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