Latest Rock News - Album & Live Reviews

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

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

Since 2018, there’s been a revolution happening in the French hard rock scene that started in Paris before creeping across the country and exploding into the UK and Europe. That musical revolution is Parisian rockers Harsh, who have slowly but surely been crafting a reputation as the finest French export since Champagne! Inspired by bands such as Bon Jovi, Motley Crue, Guns N’ Roses and Van Halen, Harsh burst onto the scene 8 years ago with an EP followed by debut album Out of Control in 2022; astatement of intent to bring the glory days of 80’s glam and hard rock back to the fore with their own harder edged, modern twist on the sounds and vibe of golden-era Sunset Strip. Explosive, high-energy live performances upped the hype further, as did a series of well-crafted single releasesover the last few years. Now, the likeable foursome of Albert Arnold (vocals/guitar), Severin Piozzoli (guitar/backing vocals), Julien Martin (bass) and Leo Lowenthal (drums) have really reached the next level with stunning sophomore album ‘Feels’. I’ve been fortunate enough to have had this album for a few months now, finding new layers with every listen as the Rockfiend-backed rockers show what can be achieved with resilience, hard work, determination and a truckload of musical talent! Opener ‘Break Your Way’ is the kind of rocker that any of the Sunset Strip bands would’ve been proud of in the heyday of glam and hard rock. Heavy riffs and some guitar histrionicsare the order of the day, with gang-like vocals and harmoniessmattered across the song too. Think Hysteria-era Def Leppard crossed with Slippery-era Bon Jovi and you’ll be in the right ballpark! Pure rock n roll joy! ‘All I Ever Wanted’, with its catchy, sing-along chorus, is a bit moodier sounding but is nevertheless the kind of driving rocker that’ll have live audiences jumping around. The frantic ‘Fuel to the Fire’ is fast and furious and will have a similar effect in a live setting… or whilst doing the dishes in the kitchen! Try not to jump around when listening to this one!The strangely titled ‘Offer You a Rome’, is a modern, driving rock song with a huge “whoa, oh, oh” section… and we all love a “whoa, oh, oh” in a rock song, just as much as we love a guitar solo. There’s even a brief appearance by a piano! Is there any end to Harsh’s talent? Apparently not, as further evidenced by ‘Don’t Mess With Me’, a song straight out of the Dokken playbook, with big riffs and a huge chorus! A few months ago, I reviewed ‘Forever Yesterday’ for Rockfiend, saying it’s “the kind of hard rock power-ballad I’ve been waiting on for years. It’s soaring, powerful, emotional and full of heartache, transporting you back to 1980s Sunset Strip whilst grounding you in 2026 with a polished, modern production” . This position remains, as ‘Forever Yesterday’ is one of the best power ballads I’ve heard for years and for me, is the standout track on an album already packed with many musical delights! The accompanying music video is worth a watch too! Another track I have previously reviewed as a single is the catchy yet incredibly hard rocking, heavy riffing cover of ‘Maniac’, the song made famous by 1983 movie Flashdance. As I said at the time “Harsh have transformed the classic track and made it their own by turning the amplifiers to full volume and adding musical muscle and bombast, resulting in an aural tour-de-force that will have you singing along and banging your heads with equal gusto!” . Quite simply, covers can be risky. They don’t always work. But sometimes a risk can reap great rewards and that’s what happened here. I dare you to try not to sing along… and watch the video too! ‘Back to Life’ is a bouncy little ditty, with the opening more Franz Ferdinand than Firehouse but from there, it transforms into another modern, sing-along rocker. ‘Losing my Mind’ rocks from beginning to end with the most Guns N Roses Appetite-era chorus since… well… Guns N Roses in 1987!‘Dancing Dancing’ has Ratt’s DNA all over it, from the hooky riff to the big chorus whilst ‘Never Gonna See Me Fall’ dials down the tempo to reveal a sweet, acoustic ballad that builds in power to the kind of chorus that Warrant would’ve killed for. Album closer ‘When We’re Together’ is the perfect final track with its Tyketto-like feelgood factor that’ll have you dancing and singing along! ‘Feels’ is more than just another hard rock album. It’s an album that Harsh have been working towards since their inception, with the blood, sweat and tears of years of hard work and determination pouring from every single track. This is an album that will stand up for years to come; heavy, melodic, hook-laden, stadium-sized rock music with huge vocals, riff-laden guitars, hard hitting drums and driving basslines. It’s fun and feelgood with a top-notch production… just like it used to be back in the day! This could very well be the rock album of the year! Come and join the new French revolution… with Harsh!

When Ian Gillan said that this new album would remind us strongly of the early 1970's era, he wasn't lying. Opening song, "Arrogant Boy" hits the tarmac running. Quick-paced, and drives along at a frantic, yet measured velocity. It sets the tone remarkably, with "Diablo" keeping up that vein immediately. "The Rider" has a glorious Keyboard intro from Don Airey, then cracks it's way into a dramatic opening. Simon McBride imposes himself early on. I'd personally say his sound is closer to Steve's than Ritchie's, though crucially, he has his own finger print. Ian Gillan is still producing some top-drawer lyrics. Reflective, yet amusing, poignant, yet uplifting. He's also crafted his voice to suit the output over the years, and that distinctive timbre is very firmly still there. To my mind, he's the finest rock vocalist of all time. "The Lunatic" is perhaps the heaviest song thus far, with a threatening riff that simply doesn't let up. Ian Gillan's singing matches that atmosphere perfectly here. It's clear already that DP are putting in as many twists and turns as they always do. They also have an in-built radar for knowing the times to do this. "The Only Horse In Town", has a very easy feel, once more with a gravitas befitting a group of this stature. "I have the Presidential Suite, though I chose a Motel" says, Ian Gillan. Each song has so much in it. It's nice to hear more from Ian Paice on this album. "Sacred Land"....oh my. The heaviest song on the album thus far, also immensely epic. Think "In Rock" meets "Perfect Strangers" eras. For me, this song ends way too soon. From the Morse era onwards, I've often said that there are times when DP could stretch out more, and this song fits that viewpoint perfectly. It could have gone in so many directions. However, it's still very impressive. "The Beating Of Wings", is slower, with a "Maybe I'm A Leo" vibe about it. Ian Gillan talks of those moments we have when we're alone, perhaps longing for a certain someone. (We've all had that, haven't we?) At the same time though, pointing to a positive way forward. "Guilt Trippin" starts with a glorious classically inspired Piano piece from Don Airey, with Simon and Ian arriving on time to take it forwards. "I'm guilt trippin' on the last train home", says Ian. Once more, we know what he means. Roger Glover dances in and out, knowing exactly when to act. You can't teach the sort of "time" that Roger is gifted with. Some songs here do remind me of Gillan (the group). "Scriblin' Gib'rish" is one of those. From the title, the lyrics, and the nature of the structure, it sits within that remit. "Jessica's Bra" came from a miss-spelling over a pub bar. The song almost has a "jig" sense about it instrumentally, and serves as an interesting deviation on the album. "Third Call" takes us back to heavier territory to start with, then alternates between melody and a bombastic thrust. "My New Movie" ups the ante, with another classical style mid section. Title track "Splat!" starts with a strong intro from first Ian Paice, then Roger Glover coming in as well. One of the standouts on the album. It has the heavy/melodic cycle administered perfectly. Ian Gillan talks of how the human race may have to evolve to move forwards, physically and spiritually. Once more, it's lyrically positive and thought provoking. Just how you'd like the album to finish. If you purchase the deluxe edition, there is an extra track (on a separate 7" single), an instrumental called "Guinneses". In the same mould as "Wring That Neck" or "And The Address", this has already made it's way into the setlist, running directly into "Hush". On first hearing, it goes shoulder to shoulder with any instrumental from DP's roster . At this risk of labouring the point, there are a couple of tracks here that beg to have been stretched out further. Two or so songs could have then been removed from here and used as extra tracks on special editions. When Bob Ezrin started working with DP, he said he wanted them to put the "Deep" back into Deep Purple. He meant it, and goodness me, how it's worked. He deserves full credit and acknowledgment for his input. Simon McBride has also injected a fresh and different oomph into DP. They are enjoying a massively fruitful period, releasing albums at a very pleasing rate. How they keep finding the inspiration, I've no idea. I'm just overjoyed that they do. So, where does this album sit in the catalogue? Goodness me, now you're asking me, aren't you?! I've listened to it twice, and at this point I'd say it's up at the top of the Ezrin era, along with "Now What?!". You could also say it's in the same area (in terms of quality) as "Purpendicular", whilst still a very different offering to that album. It can also sit proudly amongst their earlier work, and stylistically leans closer to that period than some of the more latter day output. They are already (surprisingly) talking of the next album after this one. "Splat!" is a very impressive, refreshing, emotional, melodic, heavy album. From one of our true national treasures, they've shown us once more why they deserve that designation.  "Splat!"is out now now on Ear Music. Deep Purple are on tour in Europe now, and hit the UK in November.

OUT ON SEPTEMBER 25, 2026 VIA FRONTIERS MUSIC SRL

SET FOR RELEASE ON SEPTEMBER 18, 2026 VIA FRONTIERS MUSIC SRL

Set for Release on September 25th via Frontiers Music Srl

There was no question that Def Leppard delivered another brilliant show and sounding better than ever,  Glasgow lapped up every minute.

Hardwicke Circus Hardwicke Circus were first to take to the stage to a mostly-full auditorium. Hailing from Carlisle and managed by Dave Robinson (who previously managed Elvis Costello and co-founded Stiff Records) Hardwicke Circus have been developing a hard-working reputation which has seen them gigging around the U.K., Europe and Ukraine. Unmistakably retro in sound, equipment and image, they played a short, lively and committed set of original material including ‘Walking on Broken Glass’ and ‘Woman’. Providing their own take on 70’s ‘pub rock’, as made popular by Dr. Feelgood, Graham Parker and others, their sound also has elements of The Kinks, The Doors, Ian Dury and the Boomtown Rats in places. Straying furthest from this formula, but not too far, was ‘The Ballad of Oleksandr Usyk’ with the Fratellis’-influenced ‘da-da-da-da’ chorus aimed at and succeeding in creating a ‘ you don’t need to know any words’ communal crowd sing-along. While playing as a six-piece, it would be hard not to single out Johnny Foster, on vocals and guitar, who is a compelling front man with what appeared to be effortless and natural stage presence - definitely one to watch now and a potential star of the future. Chris Difford Providing the main support was Chris Difford - one half of the main songwriting partnership behind and within Squeeze. Playing a solo set on acoustic guitar and accompanied by the excellent Melvyn Duffy (who it would probably be easier to list who he hasn’t played with) on pedal steel and electric guitar, Chris also displayed a very dry and self-deprecating sense of humour which had the audience in tears of laughter and could easily have been classed as stand-up comedy of a level people would pay to hear as just banter between songs. Introducing his set by saying he’d been allowed out of his care home for the evening and that he recognised some in the audience from there and the bus ride over, he treated the highly-appreciative Glasgow audience to a trip through Squeeze’s hits, of which there are many, and from his solo career - ‘Take Me I’m Yours’, ‘Up The Junction’, ‘Pulling Mussels (from the shell)’, ‘Labelled With Love’, ‘Tempted’ and ‘Cool for Cats’. If you grew up in the U.K. in the “80’s, it doesn’t matter how much of a rock or metal fan you were, you know the songs, you know the words, we all do. Interspersed after every second or third song was more banter mostly all linked by a common thread - about how many bands he met in their early days about whom he felt something was “a bit shit” (a song, the band name), but who all ended up playing at Wembley while Squeeze were still only playing their local pub on a Council estate. Chris also appeared genuinely surprised and moved by how much the audience was singing along to his songs - almost word for word to most of the set. But he also couldn’t resist winding up those who were singing (mostly quietly and gently, mainly female and of an age to have been fans in the 80’s) by saying that he was getting a “semi” and that it sounded like the wartime spirit during the blitz … only here the communal singing wasn’t of Vera Lynn’s songs, but those of one of our greatest pop songwriters. An absolute gem of a set. Hat doffed. Glass raised etc etc. Without any risk of hyperbole or over-statement one of the best support slots that I’ve seen, ever. Wonderful stuff. And if you ever see him touring with this do what it takes - sell the house/your arm/dog - just get a ticket. Elvis Costello & the Imposters (with Charlie Sexton) So, how do you follow that? Not easy and many artists wouldn’t have taken the risk of being upstaged and touring with such a strong act as the main support. But when you’ve both known each other for years and have a catalogue of hits and deep cuts that most other artists couldn’t dream of (as Elvis Costello has) you just do your thing, as he’s being throughout his career and I hope he’ll continue to do. Straddling genres - pop, punk, power pop, new wave, rock, jazz, singer/songwriter, movie soundtracks and many more. Tonight’s gig had been promoted as being by ‘Elvis Costello & the Imposters with Charlie Sexton’. While the Imposters have been playing with Elvis for about 25 years (with Steve Nieve on keyboards, Davey Faragher on bass and Pete Thomas on drums) and Steve and Pete also played in the Attractions before then, it was clear the respect that Elvis gives to Charlie Sexton who has joined this tour on guitar, having played in Bob Dylan’s band for years and offering a further dimension in sound. Billed as the ‘Radio Soul! The Early Songs of Elvis Costello’ tour, the gig promised much and didn’t disappoint with a strong focus on his earlier albums. Bursting into life, the band opened with ‘You Belong To Me’ and ‘Mystery Dance’. Being honest, the sound wasn’t great at the start, which it should have been given the acoustics in the purpose-built concert hall, but Elvis’s vocals were quite low in the mix, with the keyboards dominating and the guitars fighting for space. I did wonder if they’d sound-checked earlier, but the sound improved as the gig progressed. Sitting in the circle, we had a great view from above as the band filled their spaces. At one side of the stage Steve stood at the centre of keyboards arranged in a square around him in the style favoured by many prog bands, gliding from one to the other and back again as a master of keyboard wizardry as Charlie Sexton prowled the other side of the stage with his guitars and looking like a cross between Keith Richards and Dave Vanian. Behind them Pete powered away on the drums as Davey held things down on the bass, with Elvis fronting and co-ordinating his band of musicians and frequently changing position around stage. They are such a gifted group of musicians that at times there was so much going on musically the songs could have gone anywhere, but they kept their course. And big song after big song, they just kept coming - ‘Watching the Detectives’, ‘Little Triggers’, ‘Lover’s Walk’, I Can’t Stand Up For Falling Down’, ‘(I Don’t Want to go to) Chelsea’, ‘Pump It Up’, ‘Radio, Radio’, ‘Alison’ and ‘Oliver’s Army’. But the highlight of the gig for me was within the first half when Elvis rounded up his band members, ushered them across to Stage Right, swapped places with Steve and also his guitar for a piano. There then followed jaw-droppingly good renditions of Charlie Rich’s ‘Who Will the Next Fool Be’ and then ‘Everyday I Write the Book’. Forget we were in a 2500 seat concert hall. This was late night music delivered in a small club with all the feels. Goosebumps wouldn’t come close in describing it and in which the vocals and music were just sublime. Sadly, I had to leave before the end of the gig to get back through to the East and a big day at work the next day. As I drove back along the M8 with sounds of the gig still going through my head I reflected that it’s nights like this which keep me going to see and hear live music. Simply brilliant. GMcA 

I should start this review with a disclaimer of sorts. Metallica is where it all started for me. I was 12 when I discovered the band following a recommendation from a slightly older “character” at the local youth club, when most peers were into the Britpop of Oasis, Blur, Manic Street Preachers etc. After hearing the Black Album for the first time and obsessing over every track for weeks, months and even years, I followed it up with purchases of Load and eventually Reload (much maligned, in my opinion!) when they were released before working my way back to the early days and the thrash of Kill ‘Em All, Ride the Lightning and the majestic Master of Puppets. My first band t-shirt was a Metallica one and my first music VHS (remember them?) was Cunning Stunts. I wore that tape out! I’ve seen them live twice before and, on both occasions, spoke about the shows to anyone who’d listen for weeks afterwards… whether they wanted to hear about it or not! Metallica started my journey into heavy music and have been a big part of my musical life for 33 years now. So, it’ll probably be difficult for me to write an objective review here! Unfortunately, due to work commitments and Glasgow City Council’s decision to have temporary traffic lights (with no apparent work ongoing!) only a few hundred yards from a sold-out Hampden, I missed opening acts Knocked Loose and Gojira. I usually make a point of arriving in time for support slots, as it’s an opportunity to find new bands and music… but I’d be lying if I said I was gutted to enter the stadium as the last muffled but loud notes of Gojira’s set echoed around the national stadium. That meant I had time to grab a quick drink before settling into my seat, which provided an excellent view of proceedings. Having my wife with me to enjoy her first Metallica live experience was also special, as their music was something she constantly had to hear in the teenage part of our relationship and has been ongoing in the 21 years of marriage since! There was something fitting about James Hetfield (vocals/guitar), Lars Ulrich (drums), Kirk Hammett (guitar) and Rob Trujillo (bass) entering the stadium to the strains of AC/DC’s ‘It’s a Long Way to the Top (If You Wanna Rock N Roll)’, as the Young brothers were born and brought up in Glasgow before emigrating to Australia and becoming the rock legends we all know and love. That was enough to get the excitement levels up but it was nothing compared to the noise when Metallica’s now legendary intro music, Ennio Morricone’s iconic ‘The Ecstasy of Gold’ from The Good, The Bad and The Ugly boomed through the massive sound system as clips from the movie played on the 8 huge stanchions of screens situated around the circular stage. Metallica were in town… and it was going to be immense! Opener ‘Creeping Death’ is 42 years old but in Glasgow, it sounded mightier and meatier than it ever did on the original recording, ageing in a live setting like a fine wine amped up to an ABV of 100%! Fists pumped in the air and fans young and old revelled as the metal masters commanded the audience from the outset. But that was nothing compared to the frenzy when the opening bars of ‘For Whom the Bell Tolls’ boomed through the stadium, with Kirk Hammett’s song-defining intro ditty causing a flurry of air guitar activity in the seats and a rush towards the stage in the standing area. ‘Hit the Lights’ went back to the very beginning of the band’s career, meaning the first three songs were taken from the first two albums from the early 1980s. Loud. Proud. Ageless. Thrash! ‘King Nothing’ from the previously mentioned, much maligned Load album brought us back to the more modern-age Metallica sound… although even that was now 30 years ago! The setlist was brought right up to date with ’72 Seasons’ from the most recent album of the same name, ensuring the opening 5 songs pretty much covered the band’s whole career so far; beginning, middle, current. The reason for their continued longevity was crystal clear! As stated in the opening paragraph, this writer cut his heavy metal teeth on The Black Album, so the intro to ‘The Unforgiven’ transported me straight back to my bedroom in my parent’s house, going through an always-dressed-in-black stage (which I’m now very much back into!) and trying desperately to grow my hair as long as I could without annoying my church choir singing mum too much (which I now can’t do due to baldness!). The guitar solo remains as sublime now as it did when I listened to it on my Sony Walkman. There may have been a slight lump in my throat, such is the power of music invoked memories. This was further compounded by the impressive, speaker shaking intro to ‘Fuel’, with accompanying flames and pyrotechnics. Wow! Just wow! One thing I didn’t expect was Kirk and Rob playing a specially curated medley of music from Scottish bands, with Nazareth’s brilliant ‘Hair of the Dog’ and The Proclaimers’ annoyingly catchy little ditty ‘I’m Gonna Be (500 Miles)’. The place was rocking; such is the Scottish proclivity for being overly enthusiastic for anything Scottish… particularly when it’s played and acknowledged by non-Scots! ‘The Day That Never Comes’ was another memory bank moment, reminding me of sitting my then one year old son on my knee whilst making him play air drums! The show had already been more than I could’ve asked for but from this point on to the end of the show was everything I ever wanted from Metallica. A triple salvo of The Black Album with the magnificently moody ‘Wherever I May Roam’, the emotionally sublime ballad ‘Nothing Else Matters’ and the heaviest of heavy songs (“Do you want heavy?” asked Hetfield), ‘Sad But True’. For me, that trio was part of the Holy Grail of Metallica music. In fact, they’re part of the Holy Grail of metal music! Flames, explosions and the sound of gunfire signalled the start of anti-war song ‘One’, the sole representative of the …And Justice For All album, starting softly and sadly before exploding into a cacophony of anger and disdain. Some fun was introduced with the release of massive Metallica-branded beach balls that were thrown around the crowd during ‘Seek and Destroy’, with one poor stagehand being responsible for batting them away when they got too close to Lars Ulrich’s drumkit. Despite some obvious deliberate attempts by fans to do just that, the stagehand was successful in his duty!  There’s no time for encores in a Metallica show. They don’t need the validation of a crowd screaming and stamping for their return to the stage. The final two songs could be the ones that define Metallica; the thrash majesty of ‘Master of Puppets’ and the more commercial-yet-heavy melody of ‘Enter Sandman’. Heads banged, fists flew into the air, some people even cried. Then, it was all over, as drumsticks and guitar picks were thrown into the crowd causing something reminiscent of a wedding scramble (remember them?). What a night! Being a Metallica fan means being part of the Metallica family. They’re not the type of band you listen to and then grow out of. Oh no, once you’re in, you’re in for life. To people like me, Metallica are much more than just a band. They’re memories of youth and were harvesters of our sorrow when times were tough. They’re a reminder that being the uncool metalhead kid was the making of many a person. In fact, with age and hindsight, we really were the cool ones, unafraid to be different and refusing to go along with the trends! When it comes to metal music, nothing else matters! It may be another 9 years before we see Metallica back on Scottish shores. It may even be that they may never return, as after all, they’re now in their early 60s. Either way, the memories will remain of a legendary night that broke attendance records at Hampden Park in Glasgow. Brutal, powerful, heavy, loud, metal… Metallica!

I have returned to the first venue I shot in for Rockfiend photographing one of the first bands I shot when I started to take photography seriously. I am in The Cathouse in Glasgow to shoot Six Year Silence. There are two more bands performing tonight, one more local and one which has travelled up from England. The band opening tonight's gig are a Glasgow based band, Layaway. Now, every time I've seen Six Year Silence, their fans turn up early in numbers to catch the support bands, which has carried on tonight, plus, also based in Glasgow brought some of their crowd along too. I have stated in other reviews that I'm not a fan of people who only turn up for the headline band, so bonus points to tonight's audience turning up for Layaway. As we are in The Cathouse Rock Club, there is an early door time as everything needs cleared up before the club opens for it's usual Saturday night frivolity. Layaway take to the stage a few minutes later than advertised, well it is Glasgow! The singer introduces the band and then proceeds to tell the crowd that they have a new album coming out (it should be out whenever you read this) and tonight's set is mostly tracks from said album. Layaway have been around for a while, I first saw them around 2017/18, so they are pretty sure footed on stage and communicate easily with the crowd, this rapport goes down well with tonight's crowd. It seems that with a blink of an eye Layaway have got to the end of their six song set, they leave with great applause and cheering. Next up are our visitors from down south. This will be my first time seeing and listening to Time Stands Still. I was chatting with the bands photographer earlier, she gave a very good report, so by the time they took to the stage, I was looking forward to what they were about to play. Like most people, when someone tells you about a band, especially someone who is pretty close to the band, you tend not to take anything too seriously, especially if, like me, you are as close to the headliners. A quick glance to the set list tells me that Time Stands Still are getting more stage time than our openers, either that or their nine songs are all three minutes long. They are not! Like Layaway, Time Stands Still have a stage presence and are not shy about using every inch of the stage and more. It doesn't take much time to realise, these guys can play, plus there is a great rapport with the crowd, it's not just "this song is called" and they play the song. The singer is a rather chatty guy with the crowd. Personally, this adds greatly to the performance. I get that supporting bands are restricted by time, But mentioning the town/city to get a response is old and boring. I know most bands do it, yes it gets a response, but please, try something different, even if it's "we have merch over there, please buy some" or "we'll be at the merch table after, come say hello". Their set was laid out as two songs, chat, one song, chat, two songs, chat then four in a row, with the odd couple of words thrown in between the final four. Personally, I liked the last four songs more than the first five, I will say, the first five were not poor songs, or filler, I just favoured the last four. I can now say that the bands "tog" was accurate with her comments about the band, Time Stands Still are bloody good, and could quite easily have headlined! I would happily head out to see them again. Time for our headliners. What can I say about Six Year Silence that I have not said in previous reviews. When I started taking photography more seriously, Six Year Silence were one of the first bands I shot. I've got to know the lads pretty well too, even to the point of front man Johnny passing in his car, pulled up to have a chat. In the past, I have described Johnny as being like the lion in The Wizard of Oz movie, no, he is not cowardly, he is a mass of hair, that's just the association I get. Since the last time I saw them, they are now a four piece, rather than the previous five piece. When a band looses one of their guitarists, at times there can be a difference to their sound, however, not tonight. Their sound is just as powerful as before, Greig on the riffs, Iain & Gary pounding out the timing like a well oiled metronome and Johnny up front, an actual powerhouse, like one of my all time favourite singer Steve Grimmett. As always I got the ubiquitous mic toss, big hair and one finger salute shots from Johnny. When it comes to writing a review I will admit I'm not the most observant of reviewers, I'm usually "in the zone" concentrating on the photography, I know, take notes etc, but I forget to take a notepad. I cannot remember if Six Year Silence played thirteen or fifteen songs, not that it matters, they absolutely nailed it, playing a lot of favourites like "I desire" "My Enemy" "King to a clown" and ending with "Monster". As with a lot of bands these days, they do not leave the stage and come back on for an encore, they just play on, the penultimate song was a bit of a surprise, a cover of Soils "Halo", which blew the roof off! I have to admit, Soil could not have played it better themselves. After they ended with the afore mentioned "Monster", the crowd chanted louder and louder for "one more song". Lets be honest here, they could have easily played on, however, The Cathouse is primarily a nightclub, and it is a Saturday night, the club opens at eleven, it's now just after half past ten, it is time to say goodnight, I did contemplate staying behind with the bands, however my wallet started laughing, don't you just hate when that happens? As always, if you don't know any of the bands here, or even if you do, head over to your favoured streaming platform and give the bands a listen to, even better, check out their web pages or social media pages and see if they are playing near you, buy a ticket and go see them perform live, there is nothing better than taking in a live gig. See you at the barrier.

When people talk about The Big Four in thrash metal they mean Metallica, Anthrax, Megadeth and Slayer. As I am not a huge fan of American heavy metal, when I talk about The Big Four, I mean bands from the UK. Acid Reign, Onslaught, Xentrix and Sabbat. Tonight, the masters of British thrash metal are back in Glasgow. Acid Reign have returned to Audio! Acid Reign are from Harrogate, Yorkshire, you wouldn't think that by the way frontman (and only remaining original member) Howard "H" Smith talks, he has said a few times that Acid Reign in Audio is like coming home.  The band were formed in 1985, split in 1991 and reformed in 2015 and have played Glasgow several times since reforming. One thing guaranteed at an Acid Reign gig is, you are going to leave the venue with a smile on your face and in pain, especially if you are standing close to the stage, there are going to be virtually constant stagedivers and a pit! I'll get back to this later. As usual, the doors are a little late in opening, it's only a few minutes, but still not on time. I LOVE this venue. During most of the twenty teens Audio was like a second home to me, it was, and still is a venue to see great bands and a great night, again, tonight is no exception. The first band to grace the stage, are a Scottish band, a five piece, from Perth, they are Killscythe. Unlike many of the Scottish heavier bands I have seen, Killscythe don't try to sound similar to the American "Big Four" ok it's thrash metal, it is a niche genre which has it's own recognisable style and sound. Killscythe fit in well in both style and sound but are more akin to the UK "Big Four" than the American, which suits me just fine, even though one of the guitarists is wearing a Testament t-shirt. They only have thirty minutes, half a dozen headbanging songs pounding out one after another, I have to admit, it's not that easy to headbang and use a camera at the same time, but I think I managed. Next up are a band I thought I recognised, not just by sight, but by their first couple of songs, however, Enquire Within's frontman announced that this was their first time playing Scotland. The band, also a five piece, formed back in 2016. I've only been to two gigs outside Scotland since 2016, one was Download 2016, the other was for Paradise Lost in London in 2023, neither which Enquire Within played, so I have no clue where this familiarity comes from, oh well! Enquire Within have forty five minutes of fist pumping, headbanging thrashing heavy metal. Once again I am focused on photography I forget to get the setlist, I thought it would be easy to catch a shot at the end of their set, but setlists don't hang around for long when the crowds are inches from the band. Enquire Within are perfectly suited for tonight's show, another twin guitar thrash metal band, maybe it's just me, but I'm getting Pantera vibes from the lads, I'm not saying they look or sound like Pantera. I don't know what it is, but that's what I'm getting from them. Having seen Pantera back in the nineties, maybe it's the energy, but that's what I'm feeling tonight. I can't wait for them to come back to Glasgow. It's break time again, and as usual between bands a conversation starts with people around, one guy, in his fifties (like myself), states that this is his first time in Audio, he is impressed with the overall experience, and this is his first time seeing Acid Reign. Where have you been man! A few of us take turns to describe what kind of night he is in for, he looks around, then states "most of the crowd are roughly my age. There is no way in hell that there will be stagediving and about the same chance of a pit!" If looks could kill lol As I have said above, Acid Reign were formed back in 1985, but only have four studio albums, the fourth being the current one, hence this tour. Before I get into the bands set, I posted on my social media page that tonight is bitter sweet, tonight is my first intense metal gig at Audio since the passing of "Papa Mosher" Peter Mitchell. Peter, even in his sixties, he was the instigator in starting both the "Mosh Pit" and stagediving. No matter who went "over the top" Peter made sure everyone was safe! The inmates have managed to free themselves from the asylum and are entering stage right! Like every band advancing to the stage, Acid Reign face a cacophony of noise welcoming them back to Audio. They are a heavy metal band, so they are dressed appropriately, apart from frontman "H", who was wearing what can only be described as a hoodie, except the one he was wearing went all the way to the floor. Set opener was the opening track "The who of you" from the new album "Daze Of The Week". A further six songs from the album will be performed from tonight's fourteen song set. Next we get hit with "Goddess" from the bands first E.P "Moshkinstein" I then feel a hand on my shoulder, I half turn around, there is a certain Mr Peebles scrambling onto the stage! There goes the first one "over the top" Many years ago Lawrie Peebles was one of a group of teens who came along and became part of "our" metal family, and one whom Peter helped Lawrie with his first to many "over the top" stagedives. Remember that guy at the break? Next is the title track from the album "Daze of the week" then another crowd favourite, "Humanoia" from their first album "The Fear". It is now raining bodies. Several songs pass, bassist Pete Dee, no relation, heads own into the crowd, another song or two, then it's time for H to leave the stage, previously when playing Audio, H likes to perform on the actual bar, tonight is no different. At one point H also stagedives and is carried round the venue. Acid Reign usually throw in a cover version to their set, tonight we get two! Firstly, a thrash metal version of Blondies "Hangin' on the telephone" which was released as a single at Christmas nineteen eighty nine. The other cover was "Just sit there" by Crumbsuckers. Final song is "No truth" from "Daze of the Week" H announces that he wants some photos of the band with the crowd, he then asks me to come on to the stage to take some photos. This is a surreal moment for me, I have never been asked to do this before, especially from a band I love, I have muscled my way on stage before and grabbed an end shot, so being invited was special. First song of the encore, "Fantastic Passion" from "Daze". H gets the crowd to put both arms up in the air, bassist Pete beckons me on stage to capture H leading a room full of mostly fifty year old heavy metal fans, waving their arms from left to right, I'm ushered off stage for the final song, another from their original EP "Moshkinstein" the song that everyone sings along to, a song written about the classic movie "Psycho", "Motherly Love". The crowd are in a frenzy! The band then take their accolades from the crowd, I am then invited back on stage for the end photo. Photo done, thanks and handshake from H. Gig over? Not quite. H is back on the mic, chatting with the crowd, I don't quite catch what he was talking about, but I do catch "health and safety! H heads towards Audios "green room", stops at the door where a six foot stepladder stands, H grabs the ladder, a huge roar comes from the crowd, yeah they know what's coming, H just cant stop performing, he opened the stepladder on the edge of the stage, climbs to the top and propels himself from the top of the ladder into the crowd below! No band ends a show like Acid Reign! As always, if you do not know any of the bands, head along to your favoured streaming platform and have a listen. You may find something you like.

DIGITAL VERSION ARRIVES JULY 3 1

Forthcoming EP All Returns to Hollow and Silence out 24th July via Seek and Strike

Before we start, I feel I should give some context. I’ve never considered the 90s to be my era. I know for many, it was the decade of grunge or Britpop, but for me, it was all about the Spice Girls. I can only apologise, but such is the nature of being born in 1991. And when I started to develop something resembling good taste, it was the classic rock and metal of the 70s and 80s that really floated my boat. As a result, it took me some time to discover Skunk Anansie, and even longer to give Garbage a whirl, a band who were never really on my radar until this co-headline tour was announced. So in writing this review, I cannot claim to bring any expertise, just the opinions of a music lover who is open to anything a bit ‘alternative’. Wandering into Dreamland tonight, it’s clear that this is a different crowd to the ones I usually find myself in; Younger and dominated by women (a situation that makes queuing for the toilets a bit ridiculous!), there’s a real sense of girl power (wait… are we back on the Spice Girls?!) mirrored by first act of the evening Du Blonde. And though I initially assume that’s the name of the band, it’s actually the stage name of singer and guitarist Beth Jeans Houghton. A talented songwriter with a knack for delivering upbeat pop-punk with attitude, she has a likeable, modest presence, acknowledging that she’ll probably “f*** up” her guitar parts before doing just that! But it’s all part of the charm, and doesn’t detract from the genius of ‘Next Big Thing’, a song that takes sleazy comments made by men and twists them into something actually worth hearing; Cortney Dixon’s lovely harmony vocals bring a smile to your face, at least until you remember what she’s singing about! Excitement is rising as inflatable spikes cut their shape across the rear of the stage. There’s a lady just next to me who’s struggling to keep it together, already throwing some unusual moves before the music has even started. But the unmistakeable, jolting riff of ‘Charlie Big Potato’ sends her into overdrive, and I almost get it. I’m not sure I’ve ever seen a more compelling frontwoman than Skin, who radiates wild energy despite the sweltering heat (and her striking leather threads!). Her voice is something else, at times delicate and beautiful, at others full of power and aggression. Initially frustrated by a noise limitation and problems making her voice heard, ‘Because of You’ gets started again, and from there, Skin really soars. The audience is utterly captivated, and the communal singing during ‘Hedonism (Just Because You Feel Good)’ and ‘Weak’ is so loud that being part of it feels almost spiritual. Whether crowd surfing, encouraging mosh pits or talking about the importance of acceptance, you sense that Skin does everything with absolute conviction. It’s this conviction that ensures ‘Yes It’s F***ing Political’ still rages 30 years on, and that the anger fuelling ‘Little Baby Swastikkka’ is impossible to miss. For me, Garbage feel a little subdued in the wake of the more explosive Skunk Anansie. Brooding and atmospheric, the cyclical ‘There’s No Future In Optimism’ is pretty far from my usual listening habits but delivered with an intensity that starts to win me over. The sinister, angular riff that anchors ‘Hold’ is better still, but unsurprisingly, it’s the classics that really build the momentum. ‘I Think I’m Paranoid’ kicks things up a gear before ‘Stupid Girl’ is dispensed early, with a dedication to Margate artist Tracey Emin who is somewhere in the audience. Shirley Manson is quite a talker, joking that it’s possibly the result of the “big whiskey” she had before taking to the stage; Given that she describes Margate as ‘dreamy’, I’m inclined to agree! Garbage are extremely good at what they do, and undeniably have some bangers in their arsenal. For me, ‘Vow’ and ‘Push It’ are the highlights, but I’m also enamoured by the darkness of ‘Have We Met (The Void)’. Though I’m not sure I’m ready to call myself a fan, I’m impressed, and sing along merrily to ‘Only Happy When It Rains’ with the rest. Shirley Manson probably sums it up best, when she utters the words “f***ing iconic”. I still don’t think I’ll ever consider the 90s to be my era, but I can accept that there were women around who made far more exciting and important music than I ever realised at the time. Skunk Anansie and Garbage are still making great music now, and prove worthy of their legendary reputations.  Photo by Laura DQ

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

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

Review Elaine Button - Photos Andy Bradley

Review Elaine Button - Photos Andy Bradley