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MC 16 – ‘We’re Gonna Need A Milkman’ (Neverlution)

MC 16 – ‘We’re Gonna Need A Milkman’ (Neverlution)

Following on from the band’s impressive ‘Machine Code’ album over eighteen months ago ( how time flies) Produced once again by the in-demand Dave Draper (Michael Monroe, The Wildhearts, Marc Valentine),

The album begins in fine form with the lead single ‘Standard Class’ a fine tune that’s got a most complimentary production that really packs a punch. Asking the question about quantity over quality in our arts and why we don’t champion our creative peeps more. Packing a punch, it sets the tone for what’s to come.

Claiming they’ve laid back on the politics for this record and have made the concise effort to look inwards and be more personal, either way MC16 deliver the goods.

Despite its sunnier outlook, the album does still paddle in the muddy puddles of modern life, covering subjects like helping a drug addict friend, the commercial exploitation of Mars, AI overtaking evolution, bias against regional accents, and how we are descended from apes yet treat them terribly. So there you go some easy listening for everyone.

Formed in Wolverhampton by three strangers who kept meeting at gigs, the original incarnation of MC16 didn’t last, with guitarist/singer Carson upping sticks for London after being burgled for the third time. Over time and distance, the band reformed, and this is the line-up that has lasted.

‘Help Desk’ tackles mental health with a huge Bass punch throbbing away whilst the guitar chop and hack around some Subs like melody. ‘Last Card’ is a complete change of gear, ushering in the Clash style Reggae vibes throughout the verses and creating a rather splendid track. ‘Red Lorry Yellow Lorry’ is a sprightly look at life and class with boundless energy it feels uplifting – should it? – fuck knows but it does.

‘Descended From My Victims’ asks the question of why man treats the animals that cohabit this spinning rock so badly. Another uplifting number, but the arrangement is exceptional, and the song is a poke in the chest and temple that I really like. ‘Mars’ is about why we need to migrate there and probably fuck that planet up as well thanks to the likes of the trillionaire spacemen we have making decisions on our behalf. Ah, this is where the milkman title comes into play because whoever inhabits Mars will need a milkie, they’re right. The penultimate track deals with AI and other such modern fandangles, ChatGPT, etc and what it all means, maybe dinosaurs like moire will be long gone when these things take over perish the thought and hark back to simpler times but the genie is well and truly out of the bottle now let’s inhale deeply and run with it or get run over.

To close this happier album, they leave us with this cheerful ditty ‘End On A High’, enjoy kids this album is a banger for sure. Stick your politics, your AI, your modern tech, just stick to rock n roll and turn it up it’s still the most fun you can have with your clothes on. Buy it!

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Gatecrash – ‘Gatecrash’ (Randale Records)

Gatecrash – ‘Gatecrash’ (Randale Records)

I don’t suppose it was ever going to be a case of “if” and always more of a “when” Cock Sparrer/Argy Bargy guitarist Daryl Smith and Russ Farrell (Aka Spunk Volcano) from Dirt Box Disco, Spunk Volcano & The Eruptions and Submit would end up recording music together. Firstly, a good few years back now, Daryl penned a piece in a Rebellion Festival programme where he shared his favourite Russ songs and subsequently could be seen side stage singing his head off at every available opportunity when the masked muse and his bands were playing across the weekend. Then Dirt Box got to gig around the UK with Sparrer, releasing a split single with them along the way, before Russ ended up getting involved with some ideas for songs for their last album ‘Hand On Heart’. It’s all been a bit of a journey (as those Saturday night UK talent shows all like to say), really, but finally we have the debut record from Farrell and Smith, and it’s time for one and all to experience Gatecrash.

Ably assisted by Russ’s Dirt Box/Eruptions brother in arms Maff on drums and ex Knock Off four stringer Andy Furr, I suppose all of us here at RPM towers kind of had an idea of what Gatecrash might sound like long before they ever recorded a note, as it was never going to be another musical curveball like the Farrell’s 90s flavoured alt rock studio only project Submit, that released their second album just a few weeks ago.

I will at this point admit though that I was a tad taken aback on playing ‘Gatecrash’ for the first time, largely because as the defiant ‘Still Standing’ rang out from my stereogram what I had forgotten was just how bloody good a singer Daryl Smith is. Of course, long before becoming guitarist in Cock Sparrer and in then turn Argy Bargy he’d fronted The Elite back in the early ‘90s, and whilst the opener might be not unlike Sparrer in some ways it’s when he takes the microphone for ‘Wind It In’ that I can’t help wonder if we’ll ever get to hear that long overdue new Argy Bargy album, I mean that really could be Watford Jon singing.

As for the Russ-fronted tunes like ‘Here We Go’ which quickly follows, these songs sound very much like the less “saucy” end of the prolific songwriter’s back catalogue, and it’s all about the killer hook, of which this album has many. The likes of ‘Av A Minute Mate’, ‘I Still Believe In You’ and ‘Sometimes I Wonder Where You Are’ are quite possibly my favourite non-Dirt Box, Dirt Box sounding songs ever, and if you give these a spin, you’ll be singing along to them at the top of your voice in just a couple of plays. These songs really are the stuff of ‘Legends’ (very bad pun intended).

For yours truly it’s when Smith and Farrell share the lead vocals during the likes ‘Pound For Pound’ and ‘Walk Away’ that I think Gatecrash truly “come of age” with the former a spiky pop punk poke in the eye complete with jagged Weller guitar and chorus to die for, whilst the latter is another rousing anthem that could very quickly become the band’s signature tune.

Then for those of you who are maybe looking for something a little off the streetpunk piste why not check out the acoustic lament to getting old that is ‘One Day’, the Goldblade-like rebel song rattle of ‘Go Big Or Go Home’ or the do-wop showaddywaddy foot stomper that is the bittersweet ‘Consolation Prize’, a song custom built to get us all up on our creepers and dancing into the night.

Written, recorded, released (initially via download/streaming only) and debuted live (at Rebellion 2026) all within a period of just four months, the sixteen songs that make up ‘Gatecrash’ are a true testament to the ability of the songwriters in the band to deliver hit after hit. Plus, for those of us longing to own these songs on CD and/or vinyl, it’s just been announced the album will soon get a full physical release via Randale Records, so make sure to watch the press and social media for more news about that.

In the meantime, grab yourself a bag full of cans, and go get pissed out your head listening to Gatecrash (via all the usual streaming platforms). Just don’t piss your jeans, right… right?

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Gatecrash UK (@gatecrashofficial) • Instagram photos and videos

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Author: Johnny Hayward

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Fuzztones Vs The World DVD Release

Fuzztones Vs The World DVD Release

FUZZTONES VS THE WORLD – DVD RELEASE!!!!
MVD Distribution has finally announced the DVD released date
for the long awaited Fuzztones documentary, “The Fuzztones vs The World.”
Planned release date is November 10th, 2026.

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Daily Thompson to release new album ‘Glue’ via Noisolution Records

Daily Thompson to release new album ‘Glue’ via Noisolution Records

Pre-order the album HERE

What if everyone around you thinks you’re having the time of your life, while you’re quietly falling apart?

‘Fake A Smile’, the new single by German indie noiseniks Daily Thompson, captures the feeling of smiling through the pain—being surrounded by friends, lights, and noise, yet feeling completely disconnected.

“This song explores anxiety, self-doubt, and the loneliness that can exist even in love and in a crowded room,” explains bassist Mercedes Lalakakis-Bee. “Honest, vulnerable, and deeply relatable, it’s about the battle between the version of yourself the world sees and the one you’re desperately trying to hold together.”

‘Fake A Smile’ beautifully articulates the feeling for anyone who’s ever felt invisible in a room full of people. It’s gentle guitar strumming intro lulls the listener before the trio pile in with powerful guitar, driving rhythms and swirling melodic hooks.

With new album GLUE, it feels like Daily Thompson have finally achieved the sound they always wanted to create. Singer and guitarist Danny Zaremba, bassist Mercedes Lalakakis-Bee and drummer Thorsten ‘Babblz’ Stratmann are now fully tapped into the artists they were listening to in their formative years. Inspired by bands like Sonic Youth, Dinosaur Jr., Alice In Chains, and The Smashing Pumpkins, they created their vision of the nineties Seattle sound. Heavily influenced by the grunge scene, the songs on GLUE are propelled by massive, fuzzy, distorted guitars, melodic hooks, and the signature vocals from both Danny and Mercedes.

GLUE also contains songs like ‘Chains’, ‘SIAM’ and ‘Here I Stand’ that pay tribute to the band’s classic grunge sound. The album’s loud, heavy indie/alt-rock DNA also connects it to the broader American alternative rock scene that informed Seattle — the same scene that brought feedback-drenched, distorted guitars back to indie rock years before grunge exploded.

The band recorded the album in January 2026 in Seattle/Port Orchard, USA, at APL Recording, once again with Tony Reed. Their last album, ‘Chuparosa’, was met with critical acclaim, which is why the band returned to Seattle to record GLUE with Reed as producer and guest musician.

The band’s seventh studio album showcases Daily Thompson at the peak of their powers – grungy, effervescent, as confident as they’ve ever been and more emotional than ever before. Don’t miss out when DAILY THOMPSON play a venue near you – people who witnessed one of the shows on their previous extensive tours, festival shows (such as FREAK VALLEY FESTIVAL, DESERTFEST or German TV Show WDR Rockpalast) or while supporting bands like MONSTER MAGNET will agree.

Catch Daily Thompson live at the following dates in the UK this October:

Oct 11: Bournemouth – The Anvil

Oct 12: Bridgwater – The Cobblestones

Oct 13: London – The Dev

Oct 14: Swansea – The Bunkhouse

Oct 15: Huddersfield – The Parish

Oct 16: Edinburgh – Bannermans

Oct 17: Bristol – The Gryphon

Find Daily Thompson online HERE

Dead Express – ‘Almost Forever’ (Drowned World Records)

Dead Express – ‘Almost Forever’ (Drowned World Records)

Swedish sleaze merchants Dead Express are set to release their latest long player: Almost Forever. If you love a bit of Hanoi Rocks, the Almighty, the Stooges, or even our local heroes Sister Morphine, you will instantly fall in love with Dead Express.


Almost Forever is a perfectly formed package. Short and punchy, with memorable songs all wrapped up in perfect production. Dead Express delivers tasty guitar riffs, powerhouse drumming, great vocal melodies combined with lyrical themes around
vampires, the mourning of the good times of the past, and following your true calling. The individual members of the band nail their performances. New vocalist Marcus Rylander fits perfectly.


Almost Forever is essential listening if you’re a fan of any of the bands I’ve mentioned above. Dead Express have certainly delivered the goods. I look forward to picking up a physical copy! Great stuff.

Buy Here

Author: Kenny Kendrick

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Babyshambles Live At Koko

Babyshambles Live At Koko

Last year, Babyshambles returned for a run of unforgettable shows, celebrating the bands music and the legacy.

Live at KOKO captures one of the standout nights from that run, recorded at the band’s sold-out show at London’s iconic KOKO in December 2025.
Kicking things off is a live four-track EP featuring the opening songs from the KOKO set — Killamangiro, Delivery, I Wish and Sedative.
To celebrate the release, watch the live video for Delivery, edited by long time friend Roger Sargent.

Live at KOKO will be available digitally, on CD and on limited edition Sky Blue, Tangerine and Black vinyl,with formats shipping on 9th October and in record stores from 16th October.

“Handmade Signed Art Deluxe Edition on White Splatter Vinyl”
 
The ultimate collector’s piece:
The Handmade Signed Art Deluxe Edition, strictly limited to just 100 copies, every record in this bespoke run has been hand-finished and individually signed by the band themselves.
The front sleeve features an uncoloured version of Drew McConnell’s artwork that will be stamped, sprayed, scrawled and adorned lovingly by the band before finally being hand-signed and numbered.

Preorder Here

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Then Comes Silence makes Judgement Day

Then Comes Silence makes Judgement Day

Stockholm-based post-punk trio Then Comes Silence makes a brazen return with their new single ‘Judgement Day’, a dark and driving anthem that embraces failure, reckless choices, and the thrill of living without regrets. Along with a high-energy video by Damon Zurawski, this song celebrates those who burn brightly on borrowed time as doomsday looms. This is the first single from their ‘Requiem Ballroom’ album, to be released via Metropolis Records.

Formed in 2012 by vocalist-bassist Alex Svenson, Then Comes Silence has operated as a tightly focused trio since 2022, along with drummer Jonas Fransson and guitarist Hugo Zombie. Together, they have refined Then Comes Silence into its most direct, powerful and uncompromising form.

‘Judgement Days’ opens with a catchy Euro techno melody, contrasting with the band’s roots and signature sound. A brooding yet danceable collision of post-punk intensity and unexpected Euro-techno flourishes, it paints a portrait of sinners embracing their final celebration before the inevitable reckoning.

“‘Judgement Day’ was the first song I wrote for this album – an homage to our musical heroes Killing Joke. Hugo came up with the guitar sound early in the process. This song celebrates the wicked ones having a good run til their end days. In some people’s eyes, we too are rock ‘n’ rolling, beer drinking geezers that most likely will be the first to go. So be it. We had a good run,” says Alex Svenson.

Hugo Zombie adds, “The guitar is inspired by Killing Joke and is a little tribute to Geordie. We haven’t played it live, but we will perform it for the first time at M’era Luna Festival in August. It should go well.”

‘Judgement Day’ is about failure, bad decisions, and poor behavior – a nod to those who will be first in line on doomsday. The techno element is juxtapositional given the subject matter. Ultimately, the band “fails” by letting something completely unexpected and out-of-character takeover. A swaggering gothic rocker that turns self-destruction and the ticking of time into an irresistible celebration of the wicked,

“We gave a performance in the photo studio when shooting the music video. It was like a regular concert with the extras dancing around the band. People seemed to enjoy being involved in the making of this video – it’s easy to dance to and has a good dynamic,” says Alex Svenson.



Jonas Fransson shares, “We invited a bunch of friends to join us for the music video shoot, and one of them happens to be a 16-year-old Miniature Pinscher. He is almost completely deaf, so he didn’t mind walking around the studio while we were playing. The video isn’t cut and finished yet, but there’s a good chance he’ll end up in it.”

‘Requiem Ballroom’ is divided into two parts, the ‘Ballroom’ mixed by Jon Bordon (Nicole Sabouné, Melody Club, The Exploding Boy) and the ‘Requiem’ half mixed by Tom van Heesch (Rammstein, Apocalyptica, Backyard Babies). This album was then mastered by Svante Forsbäck / Chartmakers (Rammstein, Amaranthe, Ville Valo, The Rasmus, Apocalyptica). 

Then Comes Silence has become one of the leading names on today’s goth, post-punk and darkwave scene. Driven by a fascination with horror, the occult and the raw intensity of underground music, the band has forged a distinctive sound that has earned them a devoted international following.

With the German post-punk scene their second home, they have, for years, toured relentlessly. Continually expanding their geographic reach, they have cemented their reputation as one of the scene’s hardest working bands. With several releases through Metropolis Records, they have further strengthening their international presence. Their impending eighth album follows ‘Trickery’ (2024) and ‘Hunger’ (2022), jointly released by Metropolis and Nexilis Records / Schubert Music.

With dark atmospheres, driving rhythms, razor-sharp hooks and explosive performances, Then Comes Silence continue to push forward. They have earned their place at the forefront of the modern gothic rock and post-punk movement, proving themselves to be a vital contemporary live acts with frequent touring across North America, Latin America and Europe.

Then Comes Silence have shared the stage with acts such as The Fields of the Nephilim, Clan of Xymox, The Chameleons, A Place To Bury Strangers, Pink Turns Blue and The Bellwether Syndicate, while appearing at many of Europe’s premier alternative festivals, including M’era Luna, Wave-Gotik-Treffen, Amphi Festival, Castle Party, Tomorrow’s Ghosts Festival and W-Festival.

As of August 7, ‘Judgement Day’ is available digitally everywhere, including Apple Music, Spotify and Bandcamp, where the latest ‘Trickery’ album is also available on vinyl and CD. Tickets for Then Comes Silence performances can be obtained at https://thencomessilence.eu

LIVE DATES
AUG. 9 –  Hildesheim, Germany @ M’era Luna Festival
AUG. 20–22 –  Torgau, Germany @ Stella Nomine 2026
SEP. 11 –  Glain, Belgium @ Deux Ours
SEP. 12 – Rotterdam-Albrandswaard, Netherlands @ Baroeg Open Air 2026
SEP. 13 –  Rennes, France @ Brewklyn
SEP. 14 –  Paris, France @ Le Chinois
SEP. 15 –  Rezé, France @ Cold Crash
SEP. 16 –  Lyon, France @ Rock N’Eat
SEP. 17 –  Marseille, France @ Le Molotov
SEP. 18 –  Torino, Italy @ Ziggy Club
SEP. 19 –  Castelfranco Veneto, Italy @ Sale Improve
SEP. 20 –  Hlavní Město Praha, Czechia @ Subzero
OCT. 24 –  Stockholm, Sweden @ Kollektivet Livet

Keep up with Then Comes Silence
Website | Bandcamp | Facebook | Twitter | Instagram | YouTube | TikTok | Apple Music | Spotify | BandsInTown | Press contact

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Thirsty Quireboys Celebrate A Stunning ‘God Bless America’ Album Launch

Thirsty Quireboys Celebrate A Stunning ‘God Bless America’ Album Launch

Thirsty Quireboys Celebrate A Stunning ‘God Bless America’ Album Launch And Video Premiere in London’s Soho  

The Thirsty Quireboys lit up The Spice of Life, Soho with a sold‑out, high‑energy celebration for the launch of ‘God Bless America – Best of Thirsty’. The intimate basement venue was packed with fans, friends, industry and long‑time supporters, all there to honour the legacy of Guy Bailey and the new chapter brought to life by his friends Spike, Chris Johnstone, Irina D, Simon Hanson and producer Chris Kimsey.

The night opened with a blistering set from Bones of the City, setting the tone for an evening that blended nostalgia, storytelling and pure rock ’n’ roll spirit.

Guests were then treated to the world premiere of the brand‑new video for the title track ‘God Bless America’, a cinematic tribute to Bailey’s songwriting and the emotional core of the album, explained beautifully in detail by Chris Johnstone (featured below). The premiere was followed by a lively Q&A with the band and Chris Kimsey giving fans a rare behind‑the‑scenes look at the project’s creation, alongside a few laughs and memories from back in the day.

Pic: James Cochrane

The atmosphere surged again as Spike took the stage with Tom Golzen, Chris Johnstone, Matty Cassidy, and Simon Hanson, delivering a powerful, heartfelt performance, including poetic vocals from Guy’s songwriting partner, Irina D –  that had the room buzzing long after the final chord. It was nothing short of intimate and moving.

The intimate 100-capacity venue was filled wall‑to‑wall with energy, emotion, and the unmistakable spirit of Guy Bailey, whose legacy powered the evening from start to finish.

With proceeds supporting Nordoff & Robbins in Bailey’s memory, the launch became more than an event — it was a celebration of community, legacy and the enduring magic of Thirsty’s music.

The album ‘God Bless America – Best of Thirsty’ is out now on all major platforms

Listen: Here

Buy: Here

The analysis of the track ‘GOD BLESS AMERICA’ –  by Chris Johnstone

‘God Bless America’ is a song about a less well-known tragedy involving the Kennedy family.

The Kennedys are perhaps the best-known family in 20 century US political history.

Everyone knows about the assassinations of JFK and Bobby. Events Defining the 1960s.

Not so many know anything about the tragedy of their older sister Rosemary.  

This song ‘God Bless America’ is her story.

Rosemary Kennedy grew up in the 1930s with mild educational and behavioural issues; and later with angry mood swings that embarrassed her father Senator Joe Kennedy.

 Seeking a “cure” – in 1942 Senator Joe had her lobotomised whilst fully conscious by US surgeon Mr James Watts with tragic consequences.

The operation was botched and she was left with the mind of a two-year-old.  Her father had her hidden away for over 20 years.

There are Only 10 lines in the Song.  But Each of the lines is very specific – and each line reflects an entry on Rosemary Kennedy’s Wikipedia page.

“She had a gleaming smile” – Rosemary was not super intelligent, but she was sociable and known for her beautiful smile.

 “She would escape at night” – as a teenager Rosemary used to run away from her convent boarding school to consternation of all the nuns

“Danced for the English queen” – when her father was in London as US ambassador – Rosemary was presented to Queen Mary and danced at the Debutante Ball in London

“Like a Lily of the valley” – this was the favourite flower of her famous sister-in-law Jackie Kennedy – wedding bouquet – White House flower arrangements- coffin  

“The  in Charge” this is her father Senator Joe

“Mr Watts said sing some notes for me ” God Bless America God Bless America ”  Mr Watts was the surgeon who undertook the operation

These are Mr Watts’ own words describing what happened during the “operation”:

“We went through the top of the head,” Dr. Watts recalled. “She was awake. I made a surgical incision in the brain through the skull. We put an instrument inside”.

As Dr. Watts cut, his colleague asked Rosemary to sing ‘God Bless America’.

Watts continued:  “We made an estimate on how far to cut based on how she responded.”

When Rosemary stopped singing – so did Mr Watts.

The operation was a total failure. Rosemary was left incontinent and with the mind of a two year old.

Joe Kennedy had her locked away in secret location  for over 20 years.

What happened to Rosemary Kennedy – in the context of the Kennedy family – and what happened to her as she sang ‘God Bless America’ can be seen as a powerful parable about US politics and even the US itself .

Jay Buchanan/Fire In Her Eyes – The Wardrobe, Leeds – 29th July 2026

Jay Buchanan/Fire In Her Eyes – The Wardrobe, Leeds – 29th July 2026

Best known as the frontman of Californian rockers Rival Sons, singer/songwriter Jay Buchanan follows up the recent release of his solo album ‘Weapons Of Beauty’ with a series of intimate solo shows booked around Rival Sons headline slot at this year’s Steelhouse Festival in Wales. More used to lighting up festival stages and arenas around the world, this is a rare chance to see the singer get back to his (feral) roots, up close and personal in small venues.

Up first are London based duo Fire In Her Eyes. The words ‘psych folk/rock wizards’ may be enough to put most RPM readers off reading any further, and on paper it would me too, but there’s something a bit special about Topaz & Natasha Livingstone that makes them stand out from the crowd. The likes of ‘Too Late To Change’ and ‘Sooner Or Later’ are great tunes, their debut album ‘Look Into The Sky’ is produced by Flood, and it’s worth exploring for the trippy cover art alone.

“We are ‘Fire In Her Eyes’ and we are here to perform some original songs for you” or words to that effect states Topaz. With just an acoustic guitar & keyboard, the sisters perform acoustic renditions of the songs they have been writing and performing since they were ten years old. The vocal harmonies are lush, and the delivery has an ethereal, almost magical vibe. They could be the Mamas without The Papas, or they may even bring to mind Stevie Nicks fronting Clannad. So, if that sort of 60’s/70’s west coast, hippy vibe floats your boat, then they could be a bit of a treat.

There’s certainly a proggy element to the well thought out arrangements that put them in the same category as the likes of Rosalie Cunningham. And while songs such as ‘Never’ and ‘Look Into The Sky’ are great soundscapes, I feel they would probably benefit from having a full band to realise the full potential of Fire In Her Eyes as a live band.

It’s the first time they’ve played Leeds, and hopefully not the last, as their set was over quicker than I expected and I would like to see them again. Highly enjoyable and very colourful openers.

With the house lights still up and everyone chatting or staring at their phones, Jay Buchanan saunters on clutching a guitar, a wide brimmed hat on his head. He greets a surprised audience to massive cheers and a round of applause, then removes a can of something from his back jeans pocket, places it on the occasional table to his side and shrugs his shoulders. We laugh, it’s almost slapstick comedy, this is how it’s going to be then.

Jay proceeds to talk for maybe 10 minutes before he even strums a note. He sets the scene for the evening, explaining the background of the album, how he came to book the tour with no plan, and not really knowing what to expect. He admits to pretty much winging it every night so far, but it seems to work. What unfolds is a two-hour songs & stories show that gives a deep insight into a travelling musician’s life.

Opening song ‘High & Lonesome’ stuns from the first line, what a voice! I mean, I’ve seen Rival Sons live many times over the years. But that voice, laid bare with just one guitar, is something truly special. You could hear a pin drop as the whole room is enraptured by his performance.

Stripped of Dave Cobb’s big production, gospel-tinged single ‘True Black’ is as soulful as the recorded version and with Jay’s explanation of what its actually about, the song is given a renewed depth. As expected, the setlist weighs heavily on the album, with highlights being the aforementioned songs, along with the heartfelt and truly moving ‘Tumbleweeds’ and the magical ‘Sway’. But it’s the stories that give a true insight, a personal touch to tonight’s set. It’s like watching him perform in his living room with a few drinks amongst friends.

He brings out his treasured lap dulcimer for a couple of tunes and the story of how that instrument came to help in the purchase of his current home is as heartwarming as the songs he plays on it. Other set highlights include a cover of Black Sabbath’s ‘Changes’ and Rival Sons ‘Shooting Stars’ that are as emotive as it gets.

With so many years of touring fronting a rock n’ roll band, it’s easy to forget that Jay came from a singer/songwriter background, and maybe Jay forgot that too…for a time. ‘Weapons Of Beauty’ was a long time coming, 10 years in the making through good and bad times. The singer seems to be in a good place right now, and tonight was a testament to a true artist who has come full circle, it seems.

While Rival Sons are currently laying down a new studio album, I feel there will be more of these shows from Jay Buchanan in the future. A stunning, spiritual and life affirming evening of music and stories.

Author: Ben Hughes