Album & Live Reviews

For several years, music fans up and down the UK were enthralled by the eruption of Scottish metal band Tantrum, with their brand of heavy, intelligent, often socially aware, even prog-tinged metal burning through speakers like an unstoppable flow of musical lava. The brilliant album No Place for the Damned was released to great acclaim, then… nothing! The once mighty Tantrum volcano stopped violently spewing, and the remnants of volcanic ash started to settle on the heavy metal plains below. However, the metal gods deemed it was far from over, with deposits of ash, cinder, and volcanic spatter coming together to form PYROCLAST ; the same familiar lineup, the same great music, the same lyrical content… but with a brand-new identity that released them from the shackles of their former band name. Mark Reid (vocals), Baz Fitzsimmons (guitar), Chris Horne (guitar), Liam Barrie (bass) and Mark Riches (drums) introduced PYROCLAST to rock and metal audiences with a self-titled single a few months ago that coincided with an appearance at the Wildfire Festival, followed by a rebrand of Tantrum’s No Place for the Damned album which is now available under the PYROCLAST name with new visuals and artwork. It all prepared the ground for the next part of PYROCLAST’s evolution, which comes in the form of their new single ‘Brought by a Flame’, set for release on 26th September, along with a glitzy new video that continues the story of the hero from the former band name’s Trinity Trilogy and brings a conclusion to the song ‘Traveller’. It wouldn’t be a PYROCLAST song without some kind of clever, entertaining story or intelligent narrative to accompany the music, so before delving into the aural delights, let’s get an understanding of the story and lyrical content. The action starts in the year 4,022,037AD as our man hurtles through space in his escape pod (where ‘Traveller’ ended on the Trinity release), with the sound of an alarm system heard as he crash-lands on another planet. The inhabitants of this planet live a primitive but happy life, never having known war, weapons, or even basic elements such as fire. The traveller shows them a single flame from a lighter, one of his only possessions, and teaches them how to make fire and weapons, and allows them to see themselves for the first time in a mirror. He is reluctant to be treated as a god-like figure, worshipped by the inhabitants. But with fire, weapons, knowledge, and self-awareness comes human traits such as selfishness, jealousy, and an aggressive need to take what others have, leading our hero to realise that he’s far from being a saviour but has instead led a once peaceful planet to value fighting and weapons… all ‘Brought by a Flame’! It’s all sounding very 2025 and is undoubtedly a salutary nod to current world affairs. So, how does the music help to drive this story. As the pod crash-lands, there’s a heavy, speaker-shaking noise of power chords, drums, and some melodic lead guitar noodling that almost has a Celtic-tinge to it. Imagine Thin Lizzy mashed up with classic Iron Maiden intros… but much heavier and with Dimebag Darrell on guitar! As Mark Reid’s storytelling vocals kick in, the verse is a chugging, thick slice of riffy, classic heavy metal in the vein of Touch of Evil-era Judas Priest but with a beefier, more modern sound. As it builds towards the chorus, there’s some fabulous guitar work in the mix, clearing the way for Reid’s crystal-clear voice to soar in a manner that Bruce Dickinson would be proud of, as he sings “a god amongst men, reluctant to rule”. As our man realises the mistake he’s made and becomes aware of the issues he has brought to a once peaceful society, the music takes a more frantic turn with truly breathtaking, shredding guitar solos that will melt your face with their ferocity yet still manage to be wonderfully melodic. That’s a hard task, and to my ear, there are some elements of Metallica’s Kirk Hammett in the playing, with the hard-hitting drums, fast riffing, driving bass, and scorching solos creating the perfect setting for feeling and understanding the main character’s confusion and regret. This section of the song ends in a similar manner to the mid-section in Metallica’s excellent instrumental ‘Orion’ from the seminal Master of Puppets. Whether by design or coincidence… that works for me! Bridges (or middle eights) are often my favourite parts of songs (strange, I know!), with some of the best guitar solos and soaring, heartfelt vocals happening in this short space of time. It can bring together everything that’s come before it, yet still has its own distinct musical identity. It’s pleasingly similar in ‘Brought by a Flame’, with the emotion clear when Reid’s character implores “Not a god. Not a saviour. Just the echo of something worse” as regret and realisation lead to anguish, pain, and anger. Musically, it’s dark, moody… and tremendously heavy as the original chorus reappears to bring the song to its conclusion, accompanied by a fist pump inducing “whoa, whoa whoa” that will go down a storm with live audiences. Great stuff indeed! It's sometimes difficult to categorise PYROCLAST’s music, and ‘Brought by a Flame’ is no different. It’s most definitely classic heavy metal in the vein of legendary metal bands such as Judas Priest and Metallica, but it’s also very prog metal, with clear elements of Queensryche and Dream Theater. Throw in the brilliant storytelling and you’ve got Bruce Dickinson-era Iron Maiden. So, when you delve deep into the song, what is it? ‘Brought by a Flame’ is an experience. It’s a warning to us all that a simple, kind life should never be traded for material things and all the complications that can come with it. It’s an epic story driven by heavy, riff-filled, guitar shredding, melodic metal music, played by a group of uber-talented musicians who really care about the music they release and the fans who will hear it. ‘Brought by a Flame’ is released on 26th September, and physical copies are available for pre-order through the PYROCLAST website and on Bandcamp, with the music video released through YouTube on the same day. The music stands up on its own, but if you really want to fully understand the narrative and immerse yourself in the more cinematic elements of the track, watch the accompanying music video. The track will also be released through the usual streaming platforms on 3rd October.

Two years ago I ended the review I did of the Bloody Dice debut album with ‘Good debut album, bring us more please’, well the pot has been refilled and here we have the follow up. ‘2’ is a 10 track release, with a changed lineup from the debut album, bringing in Peter Larson on Drums and Jakob Haugaard on Bass, but still features on Vocals Dagfinn Joensen and on Guitar Nickie Jensen. Album opener ‘ Cry for War’ hits you with a welcoming Bass run from Jakob bringing you into the identifiable guitar sound we expect from this band. Big powerful chords and effortless solo transitions paint a lyric thread of political angst. There’s a distinctive tone and sound from these guys, very much evident in the debut album and continues through track two as we get into ’Maze’. Enjoy the lwriting here, messaging us that life keeps you going round in circles or hitting deadends, good analogy with the endless maze. ‘Break the Circle’ has a moody guitar line to it, awesome solo from Nickie, then think about a 70’s vibe combined with the power of the current hard rock guitar genre. Love the power intro to ‘The Bitch is Crazy’, great track, showcases Dagfinn’s powerful vocals perfectly. There’s a confident swagger to this one. ‘Madness’ brings back the Bass intro with power chords filling the gaps, connecting up with a neat guitar solo. Out and out rock n roll with ‘Back to Hell’, lyrics are subtle , kind of echo how we all feel sometimes, working hard just to stand still. ‘Unspoken’ slightly slower paced in some parts, but as with the preceding tracks delivers a quality rock song. ‘Struggling to Breathe’ is my album favourite, think Volbeat coupled with Priest. It's dynamic with power vocals at the right points, supported with a worthy rhythm section and of course Nickie with some mighty fine guitar work. Slide guitar brings you into ‘Don’t Know Where We’re Going’, the band takes you on a road trip from their normal sound, but they deliver you back in one piece. Take a bow on the drumming here Peter. ‘Face the Truth’ closes the album perfectly with another great track delivered with all parts of the ‘Bloody Dice’ machine in unison. Excellent follow up album, consolidates that initial good vibe I got from the debut. ‘Bloody Dice’, bring me more please. Kevin McCallum

The third night of the Walking on Water tour, and already there was a buzz of anticipation and good vibes among those of us gathering early for the VIP teaser set and meet-and-greet. Given that most of us were of a certain vintage, there were plenty of shared stories about past gigs, our collective inability to follow bands around like we used to, and the new essentials: checking the day of the week, the venue location, and crucially, whether we can get a seat. The meet-and-greet was a joy. We got a three-song preview of the main set, and then the band came down to mingle with the faithful. This was a change from the Thunder experience, where it’s usually a quick line walk, a brief chat, some signing, and the proper meet-and-greet happens later. As usual, I spent far too long chatting with Luke and Chris, apologies to Dean, Sam, and Reece. Would’ve loved a blether, but time ran away with us. Next time! Support came from Willie Dowling. I’ll admit, it was one of those “hang on, that name rings a bell” moments. A quick online refresher reminded me of his pedigree: The Grip, Honeycrack, Jackdaw4, and The Dowling Poole. It was Honeycrack that had etched his name into my memory; I was a fan back in the day. Willie’s short set was packed with sharp tunes and wry humour, as you’d expect from someone who wrote songs for Spitting Image when it returned to TV. Tracks like “The Simpleton” (a cheeky jab at a certain world leader), “The Gravy Train” (on greed), and his opener “I Killed My Imaginary Friend” had the crowd laughing. He introduced it by saying he’d recently lost his best friend; then grinned and added, “It’s okay, he was imaginary, and I killed him myself.” With Willie on keyboards, Andy Lewis on bass, and Darby Todd on drums, the trio had a distinctly Sparks-like sound. No complaints there! After a short break (and kudos to whoever curated the interlude music), Luke hit the stage with an electrifying one-two-three punch of upbeat rock infused with Americana, country, and pop sensibility. “I Wanna See the Light,” “Walking on Water,” and “Snakeskin Parachute” had the crowd cheering from the get-go. The positive energy in both music and lyrics set the tone for the night. Between songs, Luke was in cracking form. When asking who had bought the new album, he spotted one person who hadn’t and laughed, “Why the fuck would you admit to that?” Things mellowed slightly with “Errol Flynn,” a reflective piece Luke originally thought he’d written for his father, but now suspects might be about himself. It beautifully captured the theme of ageing and losing the ease of things that once came naturally. “Always a Saturday Night” picked the pace back up before Luke, with a cheeky grin, introduced the next track with “You might know this one.” “River of Pain,” reimagined with a bossa nova beat, had the crowd belting out every word. It was rapturously received. “Gun to Your Head,” one of my favourites from Walking on Water, followed. It’s a contemplative track that urges us to take risks, follow our passions, and avoid the regret of untaken paths. “Killed by Cobain” brought humour and self-awareness, with the crowd joining in on the chorus. It’s a witty retelling of how grunge arrived just as Thunder were poised for a big American breakthrough. But as Luke sings, “It really doesn’t matter anymore;” he’s over it, and he loved every song anyway. The mellow mood returned with “Breathe,” a tender love song; Luke always manages to sneak at least one onto every record. “Watching the Sun Go Down” closed the main set on an upbeat note. After a brief pause, so brief the band could’ve just stayed on stage; the encore began with another love song. Written in a pre-digital age (or, as Luke put it, “when dinosaurs roamed the earth”), it captured his loneliness in an LA hotel room, missing the woman he loved. It was, of course, Thunder’s “Like a Satellite.” A fan favourite, it got a full-throated singalong from the Glasgow crowd. Luke dedicated it to Danny, Ben, and Harry, who are currently facing personal health challenges. “Bullets” kicked things into high gear with its glam-rock strut, Reece Morgan pounding the drums like he was channelling Don Powell in his Slade heyday. “Go with the Flow,” from Luke’s debut solo album El Gringo Loco, brought the evening to a close. It featured a Steely Dan-esque guitar duel between Luke and Dean Henderson, plus solo spots for Sam Tanner (keys, backing vocals), Reece Morgan (drums and “good looks”; because someone in the band had to have some), and Chris Childs (bass, backing vocals, and “arse distractions”). Chris’s solo had Luke shaking his head in admiration. The sound was crisp and crystal clear, and the acoustics in the hall were superb. The lighting rig was used to pronounced effect, highlighting both individuals and moods; including a lovely glitter ball moment during “Like a Satellite.” (Is a glitter ball obligatory in all of Glasgow’s smaller venues?) It was my first visit to St. Luke’s, and I’ll be back. The food at the attached bar-restaurant The Winged Ox was excellent, as was the service. I also want to highlight the difference between this venue and The Cathouse, where Luke played during the Songs from the Blue Room tour (see “A Wee Rant” after the gig review.) Upcoming Tour Dates · Sunday, 14 Sep 2025 – The Fire Station, Sunderland · Monday, 15 Sep 2025 – City Varieties, Leeds · Tuesday, 16 Sep 2025 – St George's, Bristol · Wednesday, 17 Sep 2025 – The Old Market, Brighton · Friday, 19 Sep 2025 – Bloomsbury Theatre, London A Wee Rant (Feel Free to Skip) I wanted to highlight how venues can significantly affect the gig experience for those of us with chronic health issues. This isn’t in any way a reflection on Luke Morley or the show he delivered, far from it. But having seen him perform in two drastically different venue settings, it felt like the perfect opportunity to shine a light on how much the environment can shape our enjoyment. The accessibility at St. Luke’s was top-notch. There’s a lift for wheelchair users from the restaurant to the venue, and plenty of space for wheelchairs, mobility carts, or walking aids at the sides and through the middle of the seating area. Although we didn’t need it (VIP perks!), the venue also reserves seats at the front for disabled guests. Compared to The Cathouse; where the only concession was a lift to venue level, and disabled attendees were placed at the back between two bars, sideways to the stage; it was night and day. I know these things are often out of an artist’s control, but they make a dramatic difference to how much a gig can be enjoyed. At least half the VIPs at this show had some kind of chronic condition, and every one of them had a brilliant night. At The Cathouse, my review was only fair; not because of the music, but because of where we were seated. From a seated position, the stage was barely visible, and the constant chatter from the bar areas drowned out much of the sound. Had we been placed somewhere with a forward-facing view and less noise, I’m certain I’d have given a much more positive account. I get that for many people these things don’t matter, and that accessibility provisions can sometimes attract negative comments. But for those of us with chronic issues; for whom gig-going is our happy place; it matters deeply. It shapes what gigs we can attend and where. If anyone has ideas on how to promote the importance of accessibility at venues, I’d love to hear them. It doesn’t take much to make life better. Even something as simple as a raised platform with standalone seats at the back would let us see over the crowd and feel part of the experience.

For anyone who’s been hiding under a rock since the late 1980s, Toby Jepson is a British rock singer, songwriter, and producer. He first rose to fame as the frontman and principal songwriter of Little Angels, who racked up multiple UK hits and scored a No. 1 album with 1993’s “Jam”. After the band’s final performance at the Royal Albert Hall in 1994, Jepson continued as a solo artist and with his project Toby and the Whole Truth. Over the years, he fronted several other bands including Fastway, Gun, and Dio’s Disciples. In the 2000s, he returned to the spotlight with his own band, Wayward Sons, earning widespread critical acclaim. Beyond performing, Jepson became a sought-after producer, overseeing records for a wide spectrum of rock acts including The Virginmarys and Saxon. His songwriting collaborations span artists as diverse as Katie Melua and Biff Byford. He’s also dipped into film production and radio broadcasting, notably as a presenter for Planet Rock where he has been able to use his excellent musical knowledge to give extra depth and details about the songs he plays. His career reflects a relentless passion for music and storytelling; both on stage and behind the scenes. So why begin an album review with a career retrospective? Because it’s all relevant to the latest release from Toby and the Whole Truth: a three-CD set titled “Look Out Vol. 1–3”. These discs gather brand-new songs written as Jepson surfaces from a period of therapy. While the melodies are as infectious as anything he’s penned before, the lyrics dive deep into the psyche of someone trying to stay afloat in today’s music industry. There’s pain, frustration, and anguish here; but also, a wicked sense of humour and a sharp eye for the absurdities of his profession. These records mark a reboot: musically, emotionally, and in how Jepson reconnects with the people and passions closest to his heart. “Look Out Vol. 2” is raw, emotional, and unflinchingly honest. It takes us further into Jepson’s journey toward mental health. There’s snarling punk, tender soft rock, and his signature classic rock; all woven together to serve the emotional weight of each track. Like “Vol. 1”, which leaned into sixties pop, soul, and country, “Vol. 2” continues to explore genre with purpose. Brass flourishes and stylistic nods reveal Jepson’s influences, delivering some of the most personal songs of his career. And he’s far from finished; “Vol. 2” proves the creative well is still full. Jepson opens the album with a spoken-word introduction, as he did with “Vol. 1”, offering a glimpse into each track’s meaning and emotional core. From the outset, “Vol. 2” bursts with energy. “(Don't Wanna Be A) Rock 'N' Roll Star” and “Some People Are Trash” are anything but subtle. The former is a snarling punk anthem, scathing, bitter, and ironic. It dismantles the myth of rock stardom, exposing the mental toll of living under that illusion. Jepson attacks the myth that be a rock star is all glitter and gold in the chorus “Don’t wanna be a rock ‘n roll star, The pay ain’t good, and you forget who you are.” The latter is a cathartic blast of rage, aimed squarely at a toxic presence. It’s brutal, unfiltered, and unapologetically direct. Each line slams down “Some people” for something culminating in the choral conclusion of “Some people are trash.” Yet beneath the fury lies the album’s beating heart. Tracks like “Strong Enough” turn inward, as Jepson confronts his own failures and questions whether he has the strength to persevere. “If I was strong enough, would I take control of this dilemma,” he ponders in the chorus. “Falling In Love Is Harder (Than You Could Ever Prepare Your Heart For)” shifts the lens outward, exploring the vulnerability and emotional cost of love. When denial creeps in, we get “Nothing To See Here”, a caustic tale of hiding pain behind a brittle façade. There’s no sugar-coated resolution. “Before I Break” is the emotional climax, a fragile calm at the eye of the storm. But listen closely, and it becomes a whispered cry for help, teetering on the edge of collapse. It’s an epic track, Jepson questions his beliefs and his hope that people would behave as honestly as he does, and the pain he feels when they don’t. The chorus finds Jepson pleading that it’s “got to much” and that he’s not sure how much he can take, “Before he breaks.” Then comes the final blow. “Creeping Up Slowly” captures the insidious nature of depression and anxiety with chilling precision. There’s no cure; only coping mechanisms. It lurks in the shadows, waiting for a moment of weakness to strike. It speaks to the loneliness he feels on the road, being away from the ones he loves. “My body’s old and tired of being lonely, how I’m aching for you,” Jepson sings towards the songs climax. This isn’t an easy album. Like “Vol. 1”, it’s about truth. Jepson bares his soul, refusing to offer tidy answers. It’s a record about recovery, fear, and facing the darkness. An exorcism. Stripped back and tightly produced, the spotlight stays where it belongs, on the lyrics. Jepson himself describes it as going “through the chaos of bitter regret and intense feelings of shame.” Creatively, “Vol. 2” is all Jepson. He handles vocals, guitars, percussion, programming, and production. Supporting him are Dave Kemp (keys and horn arrangements), Matthew Eldridge (drums), and Chris Blanden (bass and cello). George Hall’s string arrangements add emotional heft where needed. The result is a record that draws from punk, soul, and rock to support one of the most emotionally honest albums in recent memory. I was lucky enough to have pleasure of meeting Toby by chance many years ago after a gig at the Glasgow Academy where he was supporting Thunder. He was lovely and spent time talking to us. I’m happy to say he was as pleasant and chatty as he come across in his media projects. Having listened to the “Look Out” project so far, I offer him nothing but best wishes for the future. This isn’t just another Toby Jepson release; it’s an accounting. A weighing of the soul. The glitz and glamour of the rock star persona are stripped away, leaving only the man, standing in the wreckage, telling us his truth. “Look Out Vol.2” is available from Toby Jepson’s online store and come in various packages.

The Mighty SAXON are pleased to announce the special addition of Tygers of Pan Tang to their celebratory Hell, Fire and Steel Newcastle O2 City Hall show on November 11th. Singer Biff Byford says: “When we first ventured out to perform Wheels of Steel for the first time 45 years ago, we were accompanied by our mates Tygers of Pan Tang, so it seemed fitting to invite them back to play a special set at our Newcastle O2 City Hall show (their home town) on November 11th on what will be our final ever performance of our classic album Wheels of Steel from start to finish in Newcastle” The whole evening promises to be pretty special with Tygers of Pan Tang performing a special celebratory set, followed by Dirkschneider performing the classic album Balls to the Wall in full, before SAXON round things off by playing the Wheels of Steel album as well as other fan favourites, hits and songs from the new album Hell, Fire and Damnation. The band’s Hell, Fire and Steel UK Tour is currently close to being SOLD OUT, so fans are advised to grab the last few tickets quickly to avoid disappointment, as this will be the last opportunity to see SAXON this year in UK and Ireland performing their classic Wheels of Steel album in full from start to finish. NOV 4 – Ulster Hall, Belfast (UK) [LOW TICKET WARNING] NOV 5 – 3Olympia Theatre, Dublin (Ireland ) [LOW TICKET WARNING] NOV 7 – O2 Apollo, Manchester (UK) NOV 8 – Octagon Centre, Sheffield (UK) [SOLD OUT] NOV 9 – O2 Glasgow Academy (UK) NOV 11 – O2 City Hall, Newcastle (UK) NOV 13 – Beacon, Bristol (UK) [LOW TICKET WARNING] NOV 14 – Civic Hall, Wolverhampton (UK) NOV 15 – Hammersmith Apollo, London (UK) NOV 16 – Great Hall, Cardiff (UK) For more information and last tickets for all shows go to www.saxon747.com/tourdates Follow SAXON on: www.facebook.com/SaxonOfficial/ www.instagram.com/saxon.official www.twitter.com/SaxonOfficial www.youtube.com/PlanetSaxon www.saxon747.com

So… let’s cut to the chase! Chosen is the best Glenn Hughes solo album since Soul Mover 20 years ago and is even a contender to be one of the best he’s ever recorded. If this proves to be the swansong of his solo career, then it’s a beautiful way to bow out. That’s a big statement to make so early in an album review. Some might even say that it’s nothing more than hyperbole. However, after reading this review, I hope that it piques your interest enough to give Chosen a spin, making up your own mind as to whether the ‘Voice of Rock’, once described as Stevie Wonder’s favourite white singer, deserves such lofty praise. Before delving into the tracks, let me briefly remind you of Glenn Hughes’ musical journey. Trapeze, Deep Purple (Mk III and IV), Phenomena, Black Sabbath (sort of!), Black Country Communion, California Breed and The Dead Daisies were all blessed with the talents of the singing bass player whilst Chosen is, by my calculations, solo album number 15… and that even includes an album of Christmas songs! Add to that a handful of live albums (including 2004’s Soulfully Live in the City of Angels, the one that started me on my own exploration of his music), some collaborations (Hughes/Thrall, Hughes Turner Project, Tony Iommi to name a few), an autobiography, providing powerful vocals on electronic dance duo KLF’s 1992 hit ‘America: What Time is Love?’ and even a recent collaboration with pop icon Robbie Williams. It’s clear that the Cannock born musician has been a busy and productive man during his 52 years in the music industry. Before writing and releasing a solo album, Hughes is quite clear that he’ll only do so if he has something to say. Now, 9 years after his last solo effort Resonate, he’s ready to speak again with Chosen… and amen, the congregation is ready to listen! To help with his brand of rock and roll preaching, Hughes turned to three talented disciples; longtime guitarist, Danish six-string wizard Soren Andersen, touring drummer Ash Sheehan and former King King keys man Bob Fridzema, so there was a definite musical pedigree to Chosen before the first note was even recorded. Opening track ‘Voices in my Head’ is the younger and less well-behaved sibling of some of the tracks from 2005’s brilliant Soul Mover. It’s hard, heavy and at times funky; what modern art-rock bands such as Franz Ferdinand would sound like if they had Tom Morello raging against the machine, beefing up and down-tuning their guitar sound! Hughes’ bass is prominent in the mix, very much dictating the rhythm and direction, whilst his now 74-year-old voice sounds as clear and powerful as it has in years. ‘My Alibi’ has a very similar vibe, with a heavy, sludgy Audioslave-like riff that makes way for a more sedate and atmospheric verse that is again very much driven along by the bass. Hughes’ voice is soulful one minute and powerful the next without losing any of its famous edge. Even in the higher range of his vocal register, there’s no hint of straining or crackling like many of his peers. The title track, ‘Chosen’, was the first single to be released and was very much a statement of intent for the parent album. Coming straight of the blocks with a modern, polished heavy rock sound and drums that’ll shake your speakers, the track calms to a moody chorus as Hughes opines “I walk alone, no destination”, with his bass and Andersen’s light guitar touches invoking images of dark Los Angeles streets lit by seedy neon lights. The chorus opens into a truly driving hard rock song; “When the daylight comes, I just wanna be chosen”. Hughes’ vocals are sublime throughout, perhaps as good as I’ve heard them in many years… muscular yet controlled. It’s a sublime piece of melodic hard rock. ‘Heal’ is a direct and to-the-point rocker with a melodic riff that’s made for the catchy “oh, oh, oh” vocals over the top of it. This could be a good live number, with an opportunity for fans to join with their hero to raise the roof of the venue. Like other tracks in the Glenn Hughes arsenal, the track slows midway through for a rocking musical interlude between Hughes, Andersen, Sheehan and a sprinkling of magic keyboard dust by Fridzema. ‘In the Golden’ is another bass heavy, speaker shaking opening riff in the vein of Tom Morello’s multitude of bands with Hughes’ voice soaring in the impressive chorus. It’s modern heavy rock music, fused with the voice of a rock legend who can switch from the most soulful tones to almost window-shattering vocal highs in seconds. Another rocking instrumental interlude brings the track to an end before the menacing, almost down-tuned intro to ‘The Lost Parade’ starts. Vocally and musically, this is very much the kind of vibe found on the brilliant Fused album Hughes recorded with Black Sabbath guitarist Tony Iommi in 2005. It’s dark, brooding and heavy, with top notch vocals. Kudos is due to the always brilliant Soren Andersen for successfully channelling his inner Iommi and special mention to Bob Fridzema with keyboards that add some true spookiness to the mix! ‘Hot Damn Thing’ is a happier, bouncier affair that will cause you to tap your feet and bop your head side to side, with a melodic, to-die-for chorus that would’ve been a real winner during Hughes’ much needed rejuvenation of The Dead Daisies a few years ago, whilst ‘Black Cat Moan’ is another funky, bass-led riff with a chorus that allows Hughes’ voice to truly soar. We hear that tremendous, soulful voice with very little accompaniment during the opening of penultimate track ‘Come and Go’, a song with superb orchestration that makes the track fly. There’s even a soulful, almost RnB section that is a clear example of why the legendary Stevie Wonder rated Glenn Hughes so highly. Vocally, this is the type of epic, soulful song that his voice was made for. Exquisite! Album closer ‘Into the Fade’ is another moder, straight ahead rocker, driven by Hughes’ bass, Sheehan’s rock-steady drums and Andersen’s classic, hard rock, rhythm guitar whilst a smattering of Fridzema’s keyboards adds that little bit extra. Hughes describes it as being about “a life of acceptance, being here now and living in the present moment”. Could there be a more fitting theme to finish an album? It’s an important message for all of us. Glenn Hughes hasn’t specifically said that Chosen will be his last solo album. It’s possible that in a few years, he might have something to say again. However, we also need to be realistic. Despite being in great shape vocally and physically, he isn’t getting any younger (and I mean that with the greatest respect). He’s on his 75th trip around the sun and what a journey it’s been so far. From revitalising and finding success with the world’s biggest rock band, to battling addiction that in his words took him to the “edge of the cliff of insanity”, to eventual sobriety and a well-deserved career renaissance, Hughes has been chosen and blessed by the Higher Power and life energies he has such a strong faith in. Surely, he can’t have much left to say in terms of a solo career. If Play Me Out was the opening chapter and Addiction was his stark, soul-baring moment, then Chosen could very well be the final sermon. What an outstanding and fitting ending it would be! He is Glenn Hughes. He is the ‘Voice of Rock’. He is Chosen. Chosen is released through Frontiers Records on Friday 5th September 2025. Glenn Hughes will be touring The Chosen Years Tour in Europe before heading to the UK throughout October, with dates in Bristol, Portsmouth, Wolverhampton, London, Manchester, Newcastle, Nottingham and Glasgow. The tour will end in South America.

Having successfully avoided Edinburgh for most of the Festival, I found myself drawn to Bannerman’s by a book launch and gig by one of Edinburgh’s favourite adopted musical sons. Originally billed as a launch of Tyla’s latest book, ‘More Cocktails & Dog Tales’, with some songs and stories, the event had grown; first, through the promoted inclusion of a Q&A session with former comedian and ‘Never Mind the Buzzcocks’ host Phill Jupitus, and then some full band participation including some songs from Tyla’s latest album ‘Gilding the Lily’. All in all, the makings of a potentially great night. In a change to Bannerman’s normal standing layout, seats and tables had been set up cabaret-style and at 8.15pm sharp, minus support and with a curfew to observe due to another Fringe performer on stage after the gig, Tyla and Phill made their way on stage. Carrying a glass of what looked like milk, Tyla sparked fears that he had gone healthy and provided reassurance that said glass of ‘milk’ was, in fact, a White Russian. The audience was disappointingly small at first, growing as the night progressed, but it was always going to be a tough sell with the Festival and Fringe in full flow, competition for audiences’ money and time everywhere (including on streets, corners and in closes), lots of people away on holiday and on a Sunday (or school) night just before pay day. Over the course of the first 30-40 minutes, Phill led Tyla (as much as anyone can) through his life in the Dogs d’amour and the book, jokingly suggesting he should have ticked each page off in the book as he read it, given how much Tyla’s mind, stories and writing jump from one subject to another and back again. The rapport between the two was clear with Tyla speaking about his life in his own open and disarming manner. Free from the shackles and censorship of a prime time TV show, Phill appeared much more relaxed in a live setting and is clearly a real music fan himself. Setting himself up for Tyla’s deadpan responses, the session at times felt more like a good-natured comedy double-act, none more so than when Phill asked, “This is your second book about your life, what’s in this one?” and Tyla responded “Stuff that wasn’t in the first one”. Enough to make a comedian laugh. After Phill and Tyla had talked about Tyla’s musical career, Phill took out a list of questions from fans submitted via the t’internet (read the book) in advance of the gig. This provided a stimulus to those in the room who started to warm up, ask questions of their own and I don’t think any of us would have minded if they’d just kept the chat going for the whole evening. But, the clock was ticking and a gig was to be had. As fans will be aware, Tyla has hooked up with a range of willing musical collaborators in recent years on his solo output and when playing this live, often depending on who is available and increasingly influenced by the reality that most musicians (barring the biggest acts) need to play in more than one band, or have side jobs or hustles these days to pay the bills - a musical fluidity which is becoming more common in rock music when layering on visa costs when touring in other countries. Joining him tonight were Jamie Turnbull (the Edinburgh-based producer of his solo and Tyla’s Dogs d’amour albums, and a talented guitarist in his own right who plays guitar on ‘Gilding the Lily’ and is largely responsible for this being thought of as Tyla’s “guitar album”) on semi-acoustic guitar and Christian Kimmett (manager of Bannerman’s and bass player in Warrior Soul, Love / Hate and more bands than I’ve had bottles of wine …. okay, that might be an exaggeration) on bass. And in a late change, Michael (Brannon, I think) sat in on drums for their acoustic line-up. There then followed a 14 song set reassuringly sandwiched by the Dogs’ staples of set opener ‘Last Bandit’ and closer ‘Errol Flynn’. But in a well-balanced set mixing old and new, what I was most excited to hear were five numbers from ‘Gilding the Lily’ live for the first time. As songs, ‘Cadillac Man’, ‘Glory Days’, ‘Baptism of Fire’, ‘Gilding the Lily’ and ‘Don’t Ever Stop Lovin’ Me’ more than earned their place in the set and freshened things up. As much as we love the old Dogs’ classics, it would get dull if all we got was the favourites, however good they are. But, with ‘Billy Two Rivers’, ‘I Don’t Want You To Go’, ‘Satellite Kid’, ‘Drunk Like Me’ and ‘How Come It Never Rains’ thrown in for good measure there was enough to keep all happy. While the seated layout worked great for the Q&A session, it worked less well for the gig which followed and resulted in Tyla and the band having to work harder than they should have to create an atmosphere. But, minor issues aside, another great night of musical entertainment. Glass raised. Words and images: GMcA (apologies for the lack of photos from the night due to camera issues).

Having given us just a few months to drink up their ‘Best Medicine’ EP, rising rockers Revenant are back with another five track masterpiece for our delectation. Despite the foreboding title and moody faces glowering from the cover, ‘Black Dogs and Sad Men’ is far from bleak and actually feels like a real step up, the work of a band energised and growing in confidence. ‘Lie You’re Living’ is a surprisingly confrontational opener, the crunchy riff and thudding pulse of drums setting the stage nicely. Bristling with rage, and yet incredibly catchy, it’s quick to make an impression, going straight for the throat and not letting go. Somehow both angry and melodic, Matt Hudson’s squealing guitar solo adds to the feeling of intensity, a feeling consistent with lyrics about kicking back against those who have wronged you. The title track takes its cues from good old classic rock and feels somehow epic despite its brevity. Cleverly playing with stop/start dynamics, drummer Carl Donoghue shines in the instrumental sections, bringing real power to a song that gets better with every listen. In terms of a natural single, ‘I’ll Be There’ feels like a strong contender, leaning into more of a Southern rock sound and embracing the harmonies that are such a signature part of the Revenant experience. With the sentiment of a ballad, and a rousing chorus that will be well suited to festivals, it’s an uplifting centrepiece that deserves its position at the very heart of the EP. ‘Sex With No Substance’ is a proper no-nonsense, lust fuelled banger that’s not a million miles from prime AC/DC, albeit with a singer who doesn’t sound like he’s swallowed a razor blade (no offence Brian Johnson!). Even the gang style choruses ring with a pleasing familiarity, a sonic template guaranteed to get heads banging. But Revenant is a band of contrasts, and the gentle ‘All We Need’ couldn’t be more different. There is a beautiful fragility to this musing on the passing of time, Sam Lay’s voice never more exposed, accompanied only by lightly strummed acoustic guitar. To be equally adept at ballads and bruisers is a skill, and one that the Revenant lads seem to have mastered. ‘Black Dogs and Sad Men’ is out on the 10th October, and these lads have never sounded better. Get your pre-orders in now at:

The Seventh Stonedead Festival: a Masterclass in Metal There are festivals that come and go, and then there are those that etch themselves into the hearts of fans. Stonedead is very much the latter. Now in its seventh year, Stonedead Festival has firmly established itself with families as one of the UK’s most loved rock and metal gatherings. What began as a one-day celebration has grown into a weekend-long pilgrimage: a Friday night warm-up show, camping facilities, and a Saturday stacked with wall-to-wall rock and metal music. Held at Newark Showground, Stonedead once again delivered everything fans have come to expect: a superbly curated line-up, smooth organisation, and a uniquely friendly, community atmosphere. Campers pitched up near their cars on both Friday and Saturday nights, creating an old-school festival spirit where neighbours quickly became friends, beers were shared, and anticipation built under the late-summer sky. The weather could hardly have been kinder: warm with plenty of sunny spells, just enough cloud to soften the heat, and a light breeze to keep things comfortable. No mud, no rain, no hassle - just the perfect setting for a weekend of music. The popularity of this event speaks for itself. Early bird tickets for 2026 went on sale the very morning of the festival and were snapped up in just seven minutes - a testament to its growing reputation and enduring appeal with a dedicated fanbase. Given the electric atmosphere throughout the day, it was no surprise. Families, first-timers, and seasoned rock veterans alike gathered together, proving once again that this is more than just a gig - it’s an annual pilgrimage. Friday Night Warm-Up: Tyketto’s Long-Awaited Return For those arriving early, Friday’s opening event brought a special treat: Tyketto, finally taking their place at Stonedead after being originally scheduled for the cancelled 2020 edition. Their performance felt like a long-overdue homecoming, and the crowd welcomed them with open arms. It was the perfect way to set the tone for the weekend, giving fans a taste of what was to come. King Kraken Unleashed As the first light of Saturday morning spilled across Newark Showground, fans began to gather en masse, ready for a full day of rock and metal. The crowd was a mix of seasoned festival-goers, families, and early risers eager to rock. Hailing from Cardiff, King Kraken kicked things off with all the subtlety of a tidal wave in full force. The quintet stormed the stage, their entrance alone setting the mood: an inflatable octopus crowd-surfing overhead, delighting those who had gathered in impressive numbers for the opening slot. Singer Mark Donoghue commanded attention with his raw stage presence, alongside Adam Healey (lead guitar), Pete Rose (rhythm guitar), Karl Meyer (bass), and Richard Mears (drums). Their mix of stoner grooves and heavy riffs from the acclaimed second album March of the Gods provided the perfect wake-up call. Tracks like ‘Berserker’ immediately had the crowd’s heads banging and fists pumping, creating a wave of energy that rippled through the early audience. Children on shoulders bounced to the rhythm, teenagers threw fists and heads in unison, and older fans sang along word for word, bridging generations in a shared love of live music. For an opening act, this was no tentative warm-up; it was an all-out assault that set a high bar for the rest of the day. The message was clear: Stonedead 2025 had well and truly begun. Honouring The Late and The Great After the adrenaline of King Kraken’s opening set, the stage fell silent in the morning light. Through the smoke, festival organiser Chris Sumby stepped forward and delivered a heartfelt and poignant moment. He first paid tribute to the festival family lost in the past year - crew, fans and friends - before honouring the legendary Ozzy Osbourne, the late, great Prince of Darkness. In an outpouring of joyous yet sorrowful energy, the crowd chanted “Ozzy! Ozzy! Ozzy!” It wasn’t just a tribute - it was a moment of connection and release. In that shared grief and joy, the crowd felt both the weight of loss and the exhilaration of music that transcends time. It reminded everyone why Stonedead is more than a festival: it’s a family, a community, and a place where generations come together to celebrate both the living and the legends who’ve shaped rock and metal history. Throughout the day, bands paid homage with covers of Ozzy’s classics, most memorably an epic rendition of ‘War Pigs’. Parents lifted children onto their shoulders, passing on the music to the next generation, while older fans sang every lyric from memory - a testament to Ozzy’s enduring legacy. Black Oak County Deliver a White-Hot Performance Next up were Denmark’s Black Oak County, who brought swagger, charm, and confidence alongside a hefty dose of arena-ready hard rock. Blending the polished muscle of Alter Bridge with the southern-fried sounds of Black Stone Cherry, they had the crowd in the palm of their hands from the first riff. Each member radiated energy and showmanship. Singer/guitarist Niel Beirt, bassist/vocalist Rene Kristensen, guitarist Jack Svendsen, and drummer Mike Svendsen delivered a set that was both slick and raw, showing exactly why they’ve become one of Denmark’s most popular bands since forming in 2012. The highlight came with ‘Boom Boom Baby’, which ignited the field and had the crowd clapping, stomping, and singing along, hands in the air, heads nodding in sync with the driving rhythm. Families, friends, and long-time Stonedead veterans jumped together in unison. The atmosphere was electric yet warm; strangers exchanged smiles over the shared joy of music, and moments of synchronised cheering punctuated the set. Beer in hand or fists raised, everyone was drawn in. By the end, it wasn’t just Black Oak County performing - the festival itself seemed to sing back, a collective roar of excitement that carried far beyond the stage. Enforcer Were a Powerhouse Force If King Kraken and Black Oak County lit the spark, then Sweden’s Enforcer threw a barrel of gasoline on the fire. Their brand of heavy speed metal is not for the faint-hearted - and judging by the eager crowd, that was exactly what people wanted. The crowd surged like waves, bouncing in place, feeding off the band’s energy. Hair flew, heads banged, and chants echoed across the field, creating a visceral connection between stage and audience. Frontman Olof Wikstrand commanded the stage with ferocious energy, backed by his tight-knit bandmates, delivering a whirlwind of thunderous riffs and shrieking solos in relentless anthems like ‘Living for the Night’ and ‘Unshackle Me’. Older fans at the front were clearly in their element, air-guitaring with gusto and belting every lyric. Enforcer’s set was less about subtlety and more about sheer adrenaline, and it left the field buzzing. The New Roses Bloom After the sonic storm of Enforcer, Germany’s The New Roses brought a melodic shift without losing any of the energy. When the title track of their debut Without a Trace was used on a German broadcast of Sons of Anarchy, their profile was solidified. Their music sits comfortably in the lineage of stadium-filling acts like Bon Jovi and Van Halen, but with a gritty modern edge that’s uniquely theirs. Formed in Wiesbaden in 2007, the quartet have toured relentlessly, and their experience shows. Their stagecraft was smooth, confident, and seasoned, honed through years of opening for legends like KISS, ZZ Top, and Black Stone Cherry. From the first note, the crowd responded with enthusiastic cheers and swaying bodies. Fans sang along to every chorus, arms waving in the afternoon sun, while others clapped and stomped to the rhythm, creating a vibrant, pulsing wave of collective joy. Primal Fear: A Primal Sound Without Fear! From melodic rock to sheer metal power, the baton was passed to Germany’s Primal Fear, a band with a fearsome reputation in the power metal world. Formed in 1997 after vocalist Ralf Scheepers narrowly missed out on fronting Judas Priest, Primal Fear have since released 15 studio albums and built a loyal following. From the first thunderous riff, it was clear why the band has endured: this was power metal at full force with raucous riffs, soaring choruses, and relentless energy. The crowd became a sea of chanting voices. Self-styled “Vikings” in the audience came alive with coordinated headbanging and synchronised cheering, adding a layer of theatre to the performance. By the time they concluded, the field was buzzing, hearts racing, ears ringing, and spirits soaring. D-A-D: An Afternoon Delight! By late afternoon, Danish veterans D-A-D took to the stage, reminding everyone why they’ve endured since forming in Copenhagen as school friends in 1982. Once known as Disneyland After Dark, Jesper Binzer (vocals), Jacob Binzer (lead guitar), Stig Pedersen (bass) and Laust Sonne (drums) recently celebrated their 40th anniversary and have 13 studio albums under their belt. The band has evolved into a tight-knit powerhouse, blending punk grit, country twang, and hard rock swagger. ‘Sleeping My Day Away’, from 1989’s No Fuel Left for the Pilgrims, was the undeniable highlight, the entire crowd belting it out. Their unique brand of rock ’n’ roll mischief was a welcome tonic as the evening edged closer. Sweet Blitz the Stage If ever there was a band to unite generations, it’s Sweet. With roots stretching back to the glam rock explosion of the late 60s and the 70s, they remain one of the most influential names in British rock history. The current line-up, introduced by Sweet’s longest-serving member Andy Scott - Paul Manzi (vocals), Lee Small (bass), Tom Cory (keys/guitar), and Adam Booth (drums) - did not disappoint, delivering a hit-packed set that had everyone singing. ‘Love Is Like Oxygen’ slowed things down just enough to let the audience soak in the melody, arms waving in unison and voices raised in the afternoon air. Finally came their unifying ending, which has been stuck in my head ever since: ‘Ballroom Blitz’ blasted through the erupting crowd, a sea of hands, glitter, and smiles. Young fans, parents, and grandparents shouted every lyric, dancing in collective joy. This was not just a performance but a festival-wide singalong - a reminder that great songs never age; they simply gain new voices. The Dead Daisies Are Alive and Kicking Transitioning from glam nostalgia to modern rock powerhouses, The Dead Daisies brought a polished, arena-ready confidence. Formed in Sydney in 2012, they’ve released eight studio albums featuring a rotating line-up of veteran musicians. Despite the changes, their camaraderie and professionalism shone through in every note. Their set was high-energy, riff-heavy, and slickly delivered, with ‘Long Way to Go’ and ‘Dead and Gone’ receiving huge reactions from the fun-loving fans. By this point in the evening, the crowd, with beers in hand, were ready to rock - and The Dead Daisies provided the perfect soundtrack. The Almighty Gave a God-Like Finale Closing the festival with a bang were The Almighty, Glasgow’s hard rock heroes. Formed in 1988, their mix of punk spirit and rock attitude made them the perfect finale for a day packed with variety. From the moment they launched into ‘Wild and Wonderful’, the energy surged. The band’s commanding presence and relentless riffs created a wall of sound that reverberated across the festival field. The extended encore became a combustible mix of music, lights, and audience fervour. By the end, it was clear that The Almighty had delivered more than just a performance; they’d given Stonedead its triumphant, rebellious conclusion. The Amazing Atmosphere and Exceptional Organisation One of Stonedead’s greatest strengths has always been its meticulous organisation, and 2025 was no exception. Clear signage guided festival-goers seamlessly across the grounds, online video guides prepped newcomers, and onsite staff and volunteers were consistently friendly and approachable. Even the smallest touches - spotless toilets still stocked with paper late into the evening - spoke volumes about the organisers’ attention to detail and the respectfulness of the crowd. Food and refreshment options were equally impressive. Festival-goers could choose from classic burgers, chicken and halloumi gyros, or decadent sweet treats drizzled with chocolate. New traders expanded the choice further, offering jewellery, clothing, and art - perfect souvenirs for festival-goers. Merch tents buzzed with excitement, bar queues moved efficiently, and free water stations ensured everyone stayed hydrated. Accessibility and inclusivity were evident throughout. Spacious layouts, thoughtful planning, and clearly marked paths made it easy for everyone to navigate. Families were out in force, with children experiencing their first festival alongside parents and grandparents. Laughter, cheers, and spontaneous singalongs filled the air, creating a safe, joyful, and welcoming atmosphere. The technical side was equally polished. Sound and lighting were exceptional, delivering a professional spectacle while preserving the intimacy that makes Stonedead so special. Every note, every spotlight was carefully calibrated to enhance the experience. Perhaps the most touching detail came as the festival drew to a close. Staff waved warmly to the departing crowds, and in return, festival-goers called out their thanks - a simple but heartfelt exchange that perfectly encapsulated the camaraderie and shared love of music that defines Stonedead. Top Moments • Tributes to Ozzy Osbourne, honouring the enduring legacy of the Prince of Darkness. • Sweet’s ‘Ballroom Blitz’ singalong - a joyous, unifying highlight that captured the festival’s inclusive spirit. • The Almighty’s extended encore, closing the festival with raw, unrelenting power. Final Thoughts Stonedead Festival 2025 was everything a rock festival should be: meticulously organised, family-friendly, musically diverse, and brimming with unforgettable moments. From the inflatable octopus that welcomed early risers with King Kraken, to the thunderous finale by The Almighty, it was as much a celebration of community as it was of music. Based on the original Monsters of Rock ethos, the team have brought the spirit into the 21st century with a focus on safety and community. It’s clear how much everyone cares about Stonedead and what it symbolises - and thrilling to see it not just surviving but thriving. With early bird tickets for 2026 selling out within minutes, Stonedead’s reputation continues to soar. By Sunday night, all tickets for next year had been snapped up - proof that this is no longer just an event, but a cherished tradition.