Album & Live Reviews

There’s plenty of room to spare at the 1865 this evening, which is baffling given the strength of the lineup. Maybe it’s because it’s the middle of the week or money is a little tight, or perhaps these bands just need a little more exposure in the right places. Joking that some of the group travelled as far as 150 yards for their opening slot, Southampton’s own The Fever Dreams don’t waste the opportunity, treating us to a surprisingly diverse and engaging set. Though initially favouring foot-stomping hard rockers with the kind of no-nonsense riffs that AC/DC made into an art, ‘It’s Alright’ wanders into laid-back, almost countrified territory and highlights the impressive harmonies that spill over into a bouncy cover of ‘Take Your Mama’ (yes, the Scissor Sisters one!). ‘Blink of an Eye’ rushes along like a stream of consciousness, somewhat reminiscent of Tom Petty with its jangling guitars. A five-some seemingly bursting with ideas and rich with talent, The Fever Dreams deserve recognition beyond their home city. Fixing us with her intense, wide-eyed stare, Bobbie Dazzle makes her Southampton debut, heading up the glam rock revival we didn’t realise we needed. Fronting her aptly named ‘Dazzle Band’, the group has a strikingly retro aesthetic, flared trousers and flat caps in force, Dazzle herself rocking a snake print catsuit. Affectionately referring to her own music as “ridiculous but fun”, there’s truth to that, but it possibly undersells her knack for a catchy tune. If there’s a way to get ‘Flowers From Mars’ or ‘Back to the City’ out of your head, I’m yet to discover it. ‘Merry Go Round’ reinforces my view that the flute is a seriously under-utilised instrument in rock music and the doubling of the guitar riff with keyboard on ‘Lady On Fire’ is equally pleasing. Obscure ABBA cover ‘Watch Out’ blends in so seamlessly that you could be forgiven for mistaking it as one of Dazzle’s own if she kept quiet about its origin; The slinky guitar riff is heavier than you’d imagine, and the ‘ooo la la las’ are irresistibly upbeat. The set concludes with ‘Lightning Fantasy’, a song with lyrics that Dazzle uncovered after her father’s passing and ‘plagiarised’! A man apparently just as in love with glam rock as his daughter, you suspect he’d be very proud. As Dazzle herself puts it, “The lady’s on fire, let her inspire you”. In an age where iconic guitarists generally feel like a thing of the past, Jared James Nichols deserves to be regarded as the modern equivalent. A musclebound, mountain of a man who towers at more than 6 feet tall, his leonine locks and increasingly tattooed arms (he’s just had a new one backstage!) give him the look of someone who’d make great poster material and his command of the guitar is something to behold. Blessed with enviable charisma, flashing his bright smile freely, there’s an effortlessness to his playing, a sense that it’s all instinct. It’s the first night of the UK tour, and Nichols’ first time in Southampton as a headliner. And from the moment the wild squall of ‘Easy Come, Easy Go’ comes blazing through the amplifiers, it’s clear that he means business. His is a difficult sound to describe, undoubtedly rooted in the blues but, as Nichols himself so eloquently puts it, with “more bollocks”. Fronting a power trio (with emphasis on the power) completed by bassist Brian Weaver and drummer Ryan Rice, Nichols’ magnetic presence means that it’s almost easy to overlook the rhythm section. Of course, Jared doesn’t allow that to happen, frequently drawing our attention to their formidable prowess, and permitting them moments to shine, first during an extended ‘Threw Me To The Wolves’. There’s nothing flashy here in terms of presentation, no stage show or elaborate lights, and yet it’s still utterly compelling. Nichols notably favours a stripped back guitar set up - minimal pedals, and definitely no plectrums! Perhaps that’s how he’s able to tease delicate beauty from ‘Nails in the Coffin’ or deliver the wailing ‘Good Time Girl’ with such feeling. The latter sees him get up close with the front row, to the delight of all. ‘Honey Forgive Me’ is as close as the band get to funk, Weaver’s baseline grooving nicely throughout an expansive rendition that temporarily veers off into a fun selection of riffs, Nichols taking on everything from ‘Smoke on the Water’ to ‘Mary Had a Little Lamb’! ‘Baby Can You Feel It’ is a spirited throwback to Nichols’ blues beginnings, with an opportunity for audience participation, as we shout the chorus back at him. Latest single ‘Ghost’ is an absolute monster live, and sees Nichols edging ever closer to that killer song that the show builds towards. As it stands, the set concludes with a turbo-charged version of ‘War Pigs’, and though nobody is ever going to be disappointed by it, I can’t help but feel Nichols deserves a set closer all of his own. An unmatchable guitarist and a truly lovely guy, who takes the time to talk to everyone after the show, I’ve never known Jared James Nichols to disappoint. There’s still plenty of opportunities to catch him before he heads home to the USA. Check out the remaining tour dates here:

Straight away I have hair envy. All but the drummer sporting dreadlocks or in the case of Adam Woloszyn on Bass, a Viking cut. The performers were lined up across the stage, their postures leaning aggressively into the audience like a pack of predators eyeing their imminent prey. With raw energy, they began shouting commands, challenging the assembled masses to put their hands up or make some noise. Though the opening notes had only just begun to boom through the speakers, the atmosphere was already electric. judging by the roar, the majority of the crowd was definitely up for the challenge of matching the intensity of the group before them. Second song in, "are we having fun yet, who's wanting some chaos?" Getting the crowd to jump. They started "Chaos and Earthquakes" Despite the track not delivering the promised heaviness, which initially dampened the frenzied crowd participation, the energy on stage was utterly infectious. Guitarists Rasheed and Jayson, along with bassist Adam, acted as catalysts, a blur of motion as they jumped, spun, and headbanged across the stage. Seeing the band's relentless enthusiasm, the crowd finally began to stir. Just as the momentum built, frontman Elias leaned into the mic and roared for them to make some noise. In response, the audience erupted, shedding its earlier quiet with a deafening roar that pulsed from every corner of the venue. Elias has a clean voice, almost perfect. A recorded track couldn't have done better. He is such a great singer. Again "fist in the air" came the shout, Robbs drumming fast, furious makes sure this song "Dodge your destiny" hit hard, and so does the crowd. This is such an amazing display. They are the warm up band and the crowd are warmed into a frenzy. In the middle of the song, the music hums menacingly and Elias is scouting his prey once more. Getting the crowd to bounce like some sort of puppet master. If the set ended now then job done! The crowd is definitely warmed up! He shouts "We are Korn!...no we are not Fucking Korn! We are Nonpoint!" The performance continued to build momentum as Elias transitioned smoothly between Spanish and English, keeping the already enthusiastic crowd captivated. The atmosphere was undeniably electric, with the audience clearly enjoying every moment. Elias then started to sing a British classic that everyone could sing along to: Phil Collins' "In the Air Tonight." While the audience passionately screamed every lyric, anticipating the song's iconic moment, the rendition, unfortunately, fell short. It was a good effort, yet it ultimately lacked the famous, explosive drum impact that defines the original and that the crowd was eagerly waiting for that moment. The band delivered an electrifying set that navigated different musical energies. A standout moment was a song performed entirely in Spanish; its compelling rhythm and melody were so strong that the language barrier simply melted away. Following a brief, mellower interlude, they wisely finished their performance with a much heavier song "Bullet with a Name" ensuring the crowd's energy remained at a buzzing peak. This powerful finale solidified their sound as one that would appeal strongly to fans of Skindred and Korn, sitting comfortably between the two in terms of intensity and style. Overall, it was a great set and a perfect introduction for anyone unfamiliar with Nonpoint's compelling live presence. Excellent set. Elias Soriano vocals Robb Rivera drum Rasheed Thomas guitar Adam Woloszyn bass Jaysin Zeilstra guitar

The band walked out individually. Drummer Richard Meiz led the way, trying to gee up a Tuesday night crowd. The biggest cheers came when Andrea Ferro and Cristina Scabbia entered the stage. The set began with a heavy blast, opening with "Layers of Time" where Andrea Ferro's intense screams pushed the Gothic metal into the realm of Metalcore. This grime was instantly purified the moment Cristina Scabbia's incredible voice soared in, delivering a counterpoint of stunning clarity and purity. The energy peaked after the second song when Cristina addressed the capacity crowd, introducing the Lamb of God's vocalist, Randy Blythe collaboration, "Hosting the Shadows,". Obviously he wasn't going to make an appearance but Andrea replacing him was seamless. Musically, Richards drumming was absolutely off the scale laying down a relentlessly heavy and fast tempo; during one instrumental break, he rose from his kit, strutting and aggressively gesturing for the audience to scream louder. Meanwhile, Marco Coti Zelati, sporting striking white zombie-like face paint complete with a visible brain and a manic grin, was visibly lapping up the cheers, embodying the raw visual spectacle of the performance. Every chord from his bass was felt deep in the chest, proving that the band was totally killing it, making this mid-week show one of the liveliest the packed venue had seen. "Die and rise" followed the same formula of the Metalcore style singing of Andrea and the beautiful pristine singing of Cristina. The drummer Cristiano showing how good he is by doing one hand drumming, laying his stick down and drumming perfectly. Musically they are outstanding, not missing a beat or dropping a note. If you like your Guitar music then don't expect to see sweeping Guitar solos. I noticed as the music went on the technical and beauty of the Guitar solo was swapped for the more technically perfect voice of Cristina Scabbia. She certainly knows how to interact with the crowd. Talking Italian to some people at the front or addressing us at the back, she made us all feel part of her party. "Heavens a lie xx" gave us a more melodic ballad, with the crowd singing the chorus in fine voice. Finally we got the first Guitar solo, as precise and beautiful as we we have come to expect from this band. "In Nomine Patris" from the new album Cristina got to show what she could do with her vocals and another solo from on the guitar turned the song into a soulful, moving affair weaving a complex melodic line that perfectly complemented the intense feeling of the lyrics. This song was probably the best song so far. New songs "Gravity" and "Oxygen" were well received by the crowd. The set ended with "Nothing Stands in Our Way". The band exploded back in action for the encore with two songs off the new album "The Siege" and "I Wish You Were Dead" They followed with the classic "Swamped XX" which was by far the best song of the night with the crowd at their hyper best all night. Finally another from the new album "Never Dawn" to end the show. The performance was technically flawless, showcasing the evident skill of every musician and vocalist on stage. However, while devoted fans undoubtedly found the setlist fantastic, newcomers might find the overall show slightly monotonous. The core issue lies in the repetitive song structure, where Andrea's powerful growls followed with Cristina's clean, melodic delivery. While this predictable pattern satisfies the established fanbase, it risks feeling repetitive to a casual attendee unfamiliar with the band's catalog. The fans loved it. Vocals: Cristina Scabbia and Andrea Ferro Bass and Keyboards: Marco Coti Zelati Drums: Richard Meiz Guitar: Daniele Salomone 1. Layers of Time 2. Reckless 3. Hosting the Shadow 4. Kill the Light 5. Die and rise 6. Spellbound 7. In the Mean Time 8. Intoxicated 9. Downfall 10. Heavens a lie xx 11. In Nomine Patris 12. Blood, Tears, Dust 13. Gravity 14. Oxygen 15. Nothing Stands in Our Way Encore: 16. The Siege 17. I Wish You Were Dead 18. Swamped XX 19. Never Dawn

It was good to be back at the Glasgow O2 on Wednesday night. An over ambitious promoter had originally slated this show for the Hydro and, whilst it would have been good for tonight’s bill to get onto a stage that big, this was a venue far better suited to the fare that was on offer. First up, for me, were Yard Act. Unfortunately, I had not arrived at the venue in time to catch Spiritual Camp. Yard Act are a four piece from Leeds whose star is very much on the rise. They are two albums into their career and have caused a few waves on the indie-rock scene. How well they’d fit onto this bill was something that had me thinking as I listened to their first album, The Overload, on the way through from Edinburgh. Kicking off with a new song, Tall Tales, I found myself more interested than enjoying this start to the night. However, as the set moved on, I thought the band relaxed and their sound found its place and space in the auditorium. Yard Act were a bit rapy, a bit heavy and a bit gangly and I liked all of that. The crowd loved them too. Any concerns I had about how they’d fit the bill evaporated by the end of their second song, ‘Dead Horses’ one of the stick outs from the debut album. Singer, James Smith hinted at a gig at Barrowlands in 2026. If you can be there, get there, Yard Act will certainly rock the house. Just after 9:30 the lights dipped and on came The Hives. Tonight, they were bedecked in black suits complete with lighting stirps and white ascot ties. As always, they set a standard in sartorial garage punk. Boom, ‘Enough is Enough’, the opening volley from this year’s album The Hives Forever Forever the Hives, kicked off the night; it is quickly followed by crowd favourite ‘Walk Idiot Walk’. ‘Rigor Mortis Radio’ keeps the mosh pit moving until that wee moment when rigor mortis comes over the band and they freeze mid chord. Despite his best efforts, singer Pelle Almqvist can’t keep his smile suppressed as the volume of the crowd just keeps rising. And they are off again, ‘Paint a Picture’ another from the new album is next. That half a minute of stillness and silence in Rigor Mortis Radio was the only break in the 90 minutes the band are on the stage. The best word I can think of to describe a Hives show is “unremitting”. They just keep the tempo, the momentum and sheer pace at a solid 10 out of 10 for the whole show. As a band of musicians, they are tight as two coats of paint. Playing at that speed, that well, is a challenge few bands consistently manage, The Hives nail it every time and with every song. Front man, Howlin’ Pelle Almqvist leads the charge. Looking sharp in a suit throughout the night - he doesn’t even loosen the necktie, he covers every inch of the stage, climbs the speakers and, at one point, jumps into the crown. If there is a better frontman in rock, I am yet to see him. He controls and captivates the crowd with all the presence and authority of a Baptist preacher lifting and quietening his congregation as he wishes. If he wanted an alleluia or two, he’d get it! Pelle is approaching 50, singers 35+ years younger than him should see him and what he does as a blueprint for rock and roll presence and they should learn. Back to the music, ten of the cuts from this 18-song set are drawn from the last two albums, that still leaves room for ‘Hate to Say I Told You So’, ‘Main Offender’ and ‘I’m Alive’ from previous long players. The main set crashes to an end with ‘Tick Tick Boom’ and I am surrounded by happy, sweaty moshers. After a quick break, three more to finish and they begin where they started, with the title track of the new album The Hives Forever Forever the Hives which I suspect will be the closer for a while. What The Hives don’t lack is a self-confidence and that works for them. Carley Simon’s Nobody Does it Better starts to belt out the PA as the band take their final bows. That is a sentiment that is certainly shared by this capacity crowd. The Hives, go see them while they are still around, if you don’t there will be something missing from your life!

Saturday night, Bathgate and there is a crisp bite to the air.. winter is coming. Thank god we have the warmth that comes with a close quarters gig in Purple Orange, a cracking wee venue nestled away along a Bathgate side street but certainly one to experience! £5 entry and three sensational Scottish bands on the menu, what's not to love! First up are Glaswegian psychedelic doom rockers AYE-AYE.. named after a Madagascan lemur and having not played a gig since September 2024, they graced the stage with an ease that only seasoned bands could manage. The 3 piece commenced their set with heavy grooving track 'Men Are Ugly', continuing to deliver some new songs and some old belters to the eager listeners. With one patron claiming 'Its like Morrissey has finally had enough and embraced the metal'. Definitely a band to try and catch if those psychedelic Jams are your bag! Thoroughly enjoyed. Next on the bill were a well known band on the scene and hailing from Edinburgh, Holyrude Vault. Formed in 2021 and bringing us some of that sleazy hard rocking attitude, the 5 piece did not disappoint! Although what initially appeared to be the lads squeezing onto the stage, they moved with ease through the set giving us powerful tight vocals, technical instrumentals leaving the crowd headbanging and clapping along, really lifting the atmosphere and getting us hyped for the main event. If you like your rock to be attitude filled and no bullshit, this is the band for you and I urge you to go see them. Currently in the studio recording their new 7 track EP, I will definitely be heading out to catch them again soon! And now to our final band of the evening, 13Scream. Tonight's gig is their single launch for 'Stuck In The Inbetween', plucked from their eagerly anticipated album 'Hunt Down and Kill... 13Scream'. The band is the brain child of James McCulloch, formally of She Burns Red and joining him on this momentous new journey is drummer, and all round cool cat Adam 'bam bam' McNaughton. The lads have worked together on several projects before and have now come together to create their own account of British rock with that visceral, aggressive sound that speaks directly to them. The set begins with a flurry of energy that only comes from an antsy wait and an eagerness to get on stage, the second track of the night is of course the new single, and despite an earlier hiccup with big James taking a spill, he moves with the charisma only a giant with years of experience could pull off to finish the track, with drummer Adam claiming later into the set 'he didn't even notice'. The rest of the set is a joy to behold and includes the band's first single 'Fight'. Each track conveys a strong message about mental health and you can hear that being pushed through James's powerful vocals. The energy exuded from Bam Bam throughout the whole set carries the mood ever higher until we're brought back to earth by the final song, 'open your eyes', which gives the audience a little time to reflect on what they've just witnessed. This band is one to watch, definitely not to be dismissed and given the opportunity, you need to get down and see them. The debut album is currently live on Kickstarter for those who want to pledge, keep the independent music scene going and if this performance is anything to go by I assure you, you will not be disappointed. Overall, a fantastic night of great music, great bands and all for just a fiver. Support your local venues, support your local bands and we'll be able to continue to enjoy these experiences for years to come.

Glasgow based Eld Varg - Swedish for “Fire Wolf” present their sophomore release Destroyer. The album opens with the Metallica like intro Achaman, all norse mythology imagery and metal galloping. Then straight into the album title track, and single Destroyer underpinned by dynamic drumming and muscular riffing. A decent shout for a single, and fairly effective. The band meanwhile having originally started as a solo project by guitarist and vocalist Ollie Noakes, subsequently morphing into quite a full sounding three piece. Bass riffing meanwhile opens The Hell Of Mirrors, the Bass sitting right in the pocket throughout to strong dynamic effect. The Bands overall sound meanwhile suggesting a more classic, traditional approach with some modern quirks, though more Maiden/Dio than say Sleep Token. Can even hear a bit of Exodus - like Toxic Waltz riffing in Black Starlight, even at some moments elements of Wasp instrumentally throughout the sound. Production is good throughout, with well balanced instruments complimenting each other. Lyrically its dungeons and dragons stuff not unlike Zeppelin/Dio’s themes, fitting well within classic Metal tropes. Album closer Crestfallen opens with acoustic guitar, before a more percussive, muscular rhythm takes shape., before an acoustic Orion like interlude kicks in. And it’s with that, a fairly fat free album ends. Well paced, never outstaying it’s welcome and straight to the point.

Following on from 2023 album New Sensation Antipodean rocker Cassidy Paris returns with her 2nd full length Album Bittersweet released today. The new album takes on a more raw edge than the previous 80's inspired effort. There is no doubt that Cassidy has grown from that young girl into a young woman who has gone through an emotional roller coaster in the years since the first record and has put that down into song on this record. The opening songs are two driving rock songs with more than a hint of Pat Benetar in her heyday Nothing Left To Lose is much harder and heavier than what we have heard previously. “Finish What We Started” is another full on rocker that in her own words deals with the situation that “falling is not the end, giving up is” The emotion in the record is evident. “Give Me Your Love” could be straight from Joan Jet with that stripped down riff and swing and anthemic vocals. Can't Let Go slows the pace down and is more aligned with the previous 80's sound a mid tempo ballad that lets Paris's vocals shine. “Undecided” is another driving rocker that leads us into probably the highlight of the album for me. “Sucker For Your Love”, full of hooks and catchy vocals, One of those songs that will leave an ear worm in your brain and hours later you will find yourself singing the chorus inside your head. “Anybody Out There” takes on a journey from a heavy start to slower ballad, Paris lists here influences as Benetar, Jett and Lzzy Hale and this song has all the hallmarks of Hale, soulful vocals fill the song definitely one of the highlights of the 13 songs on show. The album closes with the catchy “Turn Around And Kiss Me” and the lead single “Stronger” that epitomizes the album a much harder stronger record written from true life experiences and hurt. We look forward to hearing them live when she returns to these shores in May 2026 for a series of dates around the UK.

Fast music, that’s a punk thing, right? Unremitting speed, song after song, not a chance to draw breath – you need to get into training to go to the gigs. It's bands like the Ramones and Buzzcocks that spring to mind. The next generation, like Green Day and the Hives kept the vibe going but who’s next? Well, on Thursday night in Glasgow we got the answer to that question – Bad Nerves. Glasgow Art School was a new venue for me. The room was a big square and held a capacity of 300; and a great room it was too. I reckon it was just about full to bursting on Thursday night. Just on 9 o’clock the light went off and Bad Nerves appeared. Lots of smoke, little light and singer Bobby Nerves wearing his dark glasses. Bobby is the driving force in the band and responsible for writing the words and music for all their material. What followed was a battering; 19 songs rammed into 60 minutes of pure joy and happy noise. This band are only two albums into their career, and we got both of them, at pace. ‘Television’ opened the night before two of my faves made an early appearance, ‘Don’t Stop’ and ‘Baby Drummer’. This was a night full of younger fans; the pit was moving constantly, and the floor was bouncing up and down. It was just like the punk gigs of old. A circle appeared, a very big circle, and just as the chorus of, what I think was ‘Jimmy the Punk’, started, crash the circle pit took off. It was mightly. ‘You Should Know By Now’, ‘Antidote’ and ‘The Kids Will Have Their Say’ took us to the end of the main set. Now, this was my first gig back after a couple of months off. I have got myself two new hips. Whilst the head (and much of my body) said “seat” my heart said “pit”. It was only the wise and restraining hand of my mate Andy that kept me in one piece at the back – just before he darted off to join the throng for the encore numbers. ‘You’ve Got the Nerve’, ‘Can’t Be Mine’ and the fantastic ‘Dreaming’ took us home. As the lights went up, I saw a sea of happy and very sweaty faces. What was great to see was very few old guys like me; this was a room full of young fans who were really up for it. If punk music, or fast music, is to have a future, then the community needs to invest in bands like Bad Nerves. Fans need to buy their music, and promotors need to get them on festival bills. All too often punk promotors look into their rear view mirrors for inspiration. That’s important, of course the fans want to see the bands of their youth, but for their festivals to survive and for the scene to flourish, they need to look down the road a bit too. Band like Bad Nerves are the future and they need to be folded into plans. There is no doubt this band have big plans of their own. They are already playing to bigger venues in the States and are about to head to Australia and Japan before Santa comes. Bad Nerves are planning big things, if you like it fast, make sure you give them a listen soon and get to see them anytime they are in a place near you!

With a name like Rockmantic, you might expect a February festival for Valentine’s Day rock-heads, but this year’s Grimsby edition — held Friday 14th and Saturday 15th November — proved that rock romance thrives perfectly well on a dark, rainy weekend in November. Across two nights, the event offered a love-struck lineup and an atmosphere that left every attendee feeling thoroughly warmed, welcomed, and plugged into something bigger than themselves. Originally launched in 2013 in Carlisle, Rockmantic has expanded over the years, and 2025 marks its third outing in Grimsby. The decision to branch out has paid off: the Yardbirds Rock Club version has quickly earned a reputation for being tightly curated, high-quality, and fiercely loyal to showcasing the best modern rock acts around. A Venue Built for Rock Yardbirds is a compact, two-tiered indoor venue so the layout and atmosphere lend themselves to exactly this kind of event. Established in 2007 and later renovated during lockdown, the club combines intimacy with excellent visibility — everyone can see the stage wherever they stand because of the elevated stage. Flames painted along the walls amplify the warmth of the room. Yardbirds is well respected for its loud, punchy mix, and since the refurbishment it boasts a state-of-the-art lighting system and a powerful new PA that delivers superb sound quality. The rig comfortably handles complex live setups with strong monitoring and a clear, professional front-of-house sound that makes every band feel bigger. Merch tables lined the mixing desk and left side, giving the bands much-needed income and offering fans a chance to support their favourites directly. Friday 14 November 2025 — Night One Ace of Kings Scunthorpe’s Ace of Kings kicked off the weekend at the early hour of 6:10pm — a notoriously difficult early slot — but they rose to the challenge with confidence and charm, despite the initial lack of attendees at an early hour. This five-piece (Jonny Bilton on vocals, Oliver James and Josh Grinnell on guitar, Ben Hughes on bass, and Adam Lazenby on drums) opened with their most streamed song, ‘Watch It Burn’, immediately proving they weren’t fazed by the thinner early crowd. Their hard-rock energy was infectious. Jonny’s confident, friendly banter engaged the crowd, especially as he proudly mentioned the band’s placement in Heat 2 of the Stonedead Festival poll. They definitely deserve your vote and I hope to see them there next year. Clever lyricism, memorable melodies, and tight musicianship made them a surprisingly strong opener. Speaking to them afterwards, their warmth offstage matched their energy onstage. ‘Rebels and Renegades’ was a standout. Filling in as a last-minute replacement for Murder in the Airwaves, they didn’t just fill a gap — they set the tone for the whole weekend. Verdict: A fantastic start. Absolutely worth seeing again. The Soul Revival The Soul Revival brought a heavier, groove-soaked rock sound that shifted the night’s energy into deeper, more emotional territory. Formed in 2023, the band — Steve Nunn (vocals), Andy Dove (guitar), Karl Selickis (drums), and Matt Higgins (bass) — have already built a growing fanbase, and it’s clear why. Steve’s classic-rock vocals were both powerful and emotive, and his crowd work was just as entertaining, delivered with a distinctively Brummie charm that gave him a likeable stage presence. Their sound blends classic influences with a modern edge: crisp, dynamic, and authentically performed. A particularly moving moment came with ‘Heart So Hollow’, introduced as a song about a friend the band lost “far too soon.” Photos of fans’ own lost loved ones were included in their music video — a touching communal gesture that quieted the room for a moment of reflection. Maintaining momentum until the end, their set commanded attention. To close their set, they treated the audience to their upcoming single ‘Rock Star’, an upbeat track set for a late-November release. Andy Dove’s guitar solos were a highlight — technically impressive and captivating from start to finish. Verdict: A tight, authentic, emotionally charged performance that kept the momentum climbing. Takeaway Thieves The sleaze-rock swagger arrived with Takeaway Thieves, a Blackpool outfit delivering old-school rock with a glam twist. Frontman Peter McLoughlin strutted onstage with a Mick Jagger confident swagger, flanked by Ben Gibson (lead guitar), Neil Hunter (rhythm guitar), Max Yates (drums), and last-minute stand-in bassist Josh Carvell (filling in for the ill Adam “The Rev” Hall). Their riff-driven, glam-tinged hard rock ignited the audience, pulling people closer to the stage. Songs like ‘Kicking My Heart Around’ and ‘Gypsy’ shook the dance floor — literally — with stomps that vibrated. They dedicated ‘Crazy Horse’ to Ozzy Osbourne, complete with an Ozzy-style wail from Peter, winning the crowd instantly. Their set was theatrical, confident, and perfectly suited to Yardbirds’ punchy sonic landscape. Verdict: Big swagger, tight delivery, irresistible energy. Star Circus Star Circus brought a melodic, classic-rock flavour to the night, drawing influence from Queen, Thin Lizzy, and Def Leppard while maintaining a modern sensibility. The lineup — Dave Winkler (vocals/guitar), Sophie Aurelia Young (bass/vocals), Santiago Periotti (guitar/vocals), and Reuben O'Donoghue (drums/vocals) — are seasoned performers with a polished sound. That said, the set started somewhat shakily. Their first few songs suffered from some vocal tuning issues and mismatched harmonies. However, by the time they reached ‘Chained to You’ — the first single from their second album ‘From the Wreckage’ (released in June) — the band had found their footing. Harmonies tightened, confidence rose, and the energy in the room lifted accordingly. Verdict: A rocky start, but promising by the end. This House We Built Closing the Friday night was Scarborough’s own This House We Built, who made a masterful musical mansion of sound with Scott Wardell doing vocals and guitar, Andy Jackson on guitar, Chris Mayes on drums, and Wayne Dowkes-White on bass. From their first song, the floor filled. Their layered sound — strong vocals, crisp guitar lines, rhythmic confidence — created a big-room feel in a small venue. ‘Old Haunts’, from their debut album, earned roaring applause, and Scott’s frontmanship carried the set with assurance. They brought it home by ending with ‘Coming Home to You’ enabling the crowd to sing along with the catchy chorus. Formed shortly before the world shut down in 2020, they’ve built a wall of sound, blending classic rock, hard rock, nu-metal and funk — all tied together with a modern melodic edge. Verdict: A strong, cohesive, melodic headliner that ended Friday on a high. Saturday, 15 November 2025 Paradise Sins Kicking off the Saturday leg was Paradise Sins — melodic hard rock with a gothic edge and they started the second day all singing and dancing, literally. Frontman Luis Riley Morrison, flanked by guitarists Dan James and Conor Frampton, bassist Dav Fortei, and drummer Zack Morris, delivered a confident, high-tempo set that immediately set the tone for a packed night ahead. Adding a unique twist, they were joined on stage by two of The Lost Girls, a dance troupe from Nottingham, Sandy Alice and Miss Militia, whose attitude and nightclub-cabaret flair hyped the crowd so that the opening performance was a visual as well as musical spectacle. Their presence elevated the atmosphere and created a full-production vibe. Formed in 2022 and newly signed to Tower Rock Management, Paradise Sins already feel stage-seasoned and are a band to watch out for. Their sound blends melodic hooks with a shadowy tone and they quickly had the crowd clapping and dancing along. Luis asked, “Can you help us make some magic?” and they created an enchanting opening, ending with ‘Voodoo Love’, which had the crowd bewitched and chanting with them. It's no sin to love this band because they sound like paradise! Verdict: A high-impact, charismatic opener with great showmanship and an already well-defined identity — definitely one to watch. Dead Zebras Next on stage were Dead Zebras, a fast-rising London rock act formed in 2023, blending 80s hair-metal attitude with modern rock hooks. With George on vocals, Ky on guitar, Jamie on bass, and Lukas on drums, they arrived with big energy and quickly lifted audience participation another level. Their set was packed with catchy choruses and crowd-friendly moments, including a rock cover of Robbie Williams’ ‘Let Me Entertain You’, which did exactly that, as voices and hands across the room joined in. Original track ‘Picture’ proved especially memorable, and ‘What I Need’ pushed the momentum even higher, its hook landing with the growing crowd. Frontman George, complete with tasselled jacket and natural showmanship, led a playful call-and-response chant of “Nah, nah, nah-nah”, turning the room into a united sing-back. Verdict: Confident, catchy, and crowd-ready — Dead Zebras are building momentum fast. Liberty Slaves Mid-evening the energy really rolled with Yorkshire's own Liberty Slaves, who delivered solid, tight hard rock and moved the event to heavier territory. Formed in 2008 and hailing from Huddersfield, the band features Ryan Meehan on vocals, Craig Hopkins on bass, Shanx on lead guitar, Wozza on rhythm guitar, and Andy on drums, who arrived well-rehearsed and ready to push the energy up a notch. Ryan’s gravelly vocals brought a raw edge that matched the band’s heavier rock direction, giving their performance texture and bite. Their set included attitude-driven favourite ‘Ain’t That a Bitch’ and new track ‘Queen Unseen’, which proved immediately catchy and well-received. They also showcased ‘In The Struggle’, reflecting on the challenges of band life — and although “the struggle is real,” they made every second look fun, effortless, and fuel-charged. Verdict: A solid, gritty, and assured hard-rock performance that raised the weight and intensity of the night. Victory or Die Up next from Scotland came Victory or Die, a high-energy rock/metal outfit with big riffs and strong stage presence. Formed in 2022, the band features Jason Sweeney on vocal and guitar, Andy “Paws” Christie on lead guitar, Brain Stewart on bass and Carlos Marin on drums. They opened with ‘The Rock Revolution’ and immediately ramped up the revelry and intensity, with raucous sing-alongs, and an unmistakable sense that the audience was gearing up. The mix held strong with drums and guitars cutting through clearly as the venue filled up. The set was packed with showmanship: Andy tore into epic guitar solos, sometimes playing behind his head, while Carlos impressed with expert drumstick twirling. Jason led the audience in a confident call-and-response chant — “When I say victory, you say die, die, die!” — which had the crowd fully engaged. The set ended theatrically with ‘Death Trap’ and a huge gong behind the drummer, leaving a lasting impression of Scottish flair and rock-and-roll bravado. Verdict: Loud, theatrical, and expertly delivered — Victory or Die brought big riffs, high energy, and full crowd engagement to the stage. Moskito Hailing from the East Midlands, Moskito took the stage next, marking their two-year anniversary with a confident, high-energy set. Fronted by Jake Rudd on vocals, with Will Rudd on bass, Joe Desmond and Sam Beck on guitars, and Drew Moore on drums, the band delivered a darker, contemporary indie-punk sound, packed with heavy riffs and edgy melodies. By this point, the venue was full but never felt cramped, the crowd hyped and on their feet, singing along and jumping to the infectious energy. Jake’s vocals, when not screaming, carried a confident indie edge, while the band’s natural camaraderie and stage interaction made their performance feel effortless. Drew’s drum solo drew particular attention, adding a thrilling highlight to the set, while the guitars and rhythm section combined for a punchy, electric performance. Verdict: Modern, energetic, and expertly executed — Moskito’s confident stage presence had the crowd fully engaged and dancing. Bullets and Octane As the penultimate act, Bullets and Octane brought a dose of hard rock pedigree from across the Atlantic. Originally from St. Louis, Missouri, and later based in Southern California, the band has been touring internationally since 1998, sharing stages with acts such as Avenged Sevenfold, Stone Sour, and Flogging Molly. Fronted by a tight, seasoned unit, they delivered a punchy set with energy and showmanship. The crowd responded enthusiastically, singing along and feeding off the band’s high-octane performance. With a mix of polished hard rock and relentless live energy, Bullets and Octane warmed the stage for the weekend’s headliner, leaving the audience ready for the final act. Verdict: Internationally seasoned, energetic, and crowd-focused — a powerful set that set the tone for the finale. C J Wildheart Closing out the weekend, C J Wildheart delivered a finale packed with power and stagecraft. Drawing on his work with The Wildhearts, the set featured tight guitar work, commanding vocals, and moments of full audience participation. By the final chord, the roar from the crowd made it clear: this was a rock weekender to remember! Verdict: Familiar, energetic, and expertly performed — a high-octane conclusion to a weekend of excellent live rock.