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Thorns – ‘Ready To Strike’ EP (These Go To Eleven Records)

Thorns – ‘Ready To Strike’ EP (These Go To Eleven Records)

Straight outta Cincinnati come fast-rising thrashers Thorns with their debut UK release, the four-track ‘Ready To Strike’ EP.

Designed as a follow-up to the quartet’s recent debut UK tour (which included a slot at this year’s 2000 Trees Festival), the tracks contained here will immediately have you reaching for your leather jacket, skintight black canvas jeans, bullet belt and Hit Tec bumper boots. That’s because after just one spin of this bad boy it really does feel like 1985 all over again.

What I love most about this EP is that, unlike many modern metal bands where pushing the genre to its most extreme edges is the aim, Thorns simply plug themselves into the old skool thrash vibe of the mid-eighties, turn everything up to eleven and sound like they are having an absolute riot in the process.

Driven by the same DIY underground spirit that birthed the original first wave of thrash bands like Exodus, Metallica, Slayer and Anthrax, Thorns, in their very short time together as a band, have already recorded two full albums (which you can hear via the Bandcamp link below), however, this EP is their first release here in the UK.

‘Bad Business’ kicks things off in mighty fine style, and to my ears at least, it’s early Metallica that Thorns sound most like here, especially in the vocals of Luke Schwarz (who, just like Papa Het, also doubles on guitar). Looking at the video that accompanies this lead track, I cannot help but be stunned by how mature the band sounds given the fact that age-wise they look like they cannot be long out of high school.  Kudos indeed guys, because when I was a teenager all the bands my age sounded like piss poor versions of The Alarm (who themselves were a Poundshop U2 – ha! that should get Daley spitting feathers).

Of the rest of the EP, ‘Muzzle’ and ‘Headcase’ continue with the 3-minute short sharp thrash blast formula set out by the opener, whilst EP closer ‘Sickfit’ ploughs a more pulsating mid-tempo ‘For Whom The Bells Tolls’ kind of furrow, but it’s still full of that youthful energy and enthusiasm that makes ‘Ready To Strike’ such a compelling listen.

‘Ready To Strike’ is set for release on August 26th via These Go To Eleven Records, and is custom-built to (I know I’m being cheeky here) Bang That Head That Doesn’t Bang!!!!

You can find Thorns’ back catalogue online HERE

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Author: Johnny Hayward

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  • 5 min read

Introducing – The Something Ain’t Rights

Introducing – The Something Ain’t Rights

Astoria, Oregon’s The Something Ain’t Rights release their debut EP Rotten In The Brain on July 22 via Hovercraft Records. Across nine tracks of punk, post-punk, country twang, and high-energy rock and roll, the band draws a crooked line from early hardcore matinees at CBGB to the current state of America. The result is a record that feels restless, sharp-eyed, and earned. Equal parts barroom philosophy, protest soundtrack, and backroad punk rock, Rotten In The Brain arrives from musicians whose roots stretch through decades of underground scenes in New York, Washington DC, Austin, New Orleans, Eugene, Portland, and now the Oregon coast. At the center of the band is vocalist and guitarist Mike Vasquez, longtime owner and engineer of Austin’s legendary Sweatbox Studio. Over the years, Vasquez recorded hundreds of independent artists, working with names like Mark Arm, Paul Leary, Alejandro Escovedo, Tim Kerr, Mooney Suzuki, Toys That Kill, and Lungfish while building a reputation throughout the punk and garage rock underground. After relocating to Astoria and assembling a lineup that includes drummer Carrie Beveridge, bassist Alpha Rasmussen, and guitarist Dan McClure, The Something Ain’t Rights emerged as an outlet for the band’s shared love of punk’s more adventurous corners. The quartet also performs together as Astoria punk outfit Beta Voids, swapping instruments here to explore a broader palette of influences. While the group pulls inspiration from icons like X, The Minutemen, Pere Ubu, The Gun Club, and Wire, Rotten In The Brain refuses to sit comfortably in any one genre. Country influences drift through angular post-punk rhythms. Hardcore urgency collides with roots rock grit. The songs feel less like nostalgia and more like a conversation between past and present.

That tension runs throughout the EP. Tracks like “Rotten In The Brain” and “Plymouth of Fury” channel frustration, urgency, and dark humor into wiry, high-energy punk, while “Gas Station Angel” and “Rainbow Alley” reveal a broader palette shaped as much by American roadways and small-town characters as underground clubs and DIY venues. The band’s chemistry comes from wildly different musical paths converging in the same room. Vasquez’s rhythmic guitar work carries traces of Texas punk and post-punk minimalism, while McClure’s playing brings the raw force of the West Coast hardcore scene that shaped him in the early 1980s. Rasmussen’s punchy bass lines and Beveridge’s swinging, unpredictable drumming give the songs a constant sense of motion.

Recorded and mixed by Vasquez at Cannon Deck Recording in Astoria during the winter of 2025-26, the project was originally intended to become a sprawling 29-song LP. Those plans changed abruptly when Vasquez was seriously injured in a highway accident midway through the process. During recovery, the band shifted course, deciding that the first nine completed songs would stand on their own as a debut release. The circumstances surrounding the recording left the band with a leaner, more focused statement than originally planned, one that captures the immediacy of the moment it was made.

The EP’s cover image provides another glimpse into the band’s origins. The photograph was taken by Vasquez across the street from CBGB during his first hardcore show in 1983, a formative moment that helped shape his lifelong connection to punk music and underground culture. That spirit still runs through The Something Ain’t Rights today. Their songs wrestle with frustration, uncertainty, and cultural decay, but they do so with wit, humanity, and the stubborn belief that music still matters. Rotten In The Brain is not the work of musicians revisiting old glories. It’s the sound of punk lifers continuing the conversation. Fueled by decades of experience, a deep connection to underground culture, and an unwillingness to look away from the world around them, The Something Ain’t Rights have delivered a debut that feels timely, unpredictable, and entirely their own.

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Trash Kickers – ‘Way Out Somehow’ (Kino Records)

Trash Kickers – ‘Way Out Somehow’ (Kino Records)

Every now and again, you get sent an album that ticks all the boxes and is exactly what you want to hear. There are times when you get fatigued from listening to so much music and the batteries are low, and then – Bang! An album hits your ears that sounds like lightning in a bottle, and Trash Kickers is one of those wonderful bands to do that. It’s like being given a shot of ECT at the moment when you feel you’re becoming that person who claims there isn’t any decent new music being made, then Boom! Trash Kickers remind you it’s okay to love rock & roll, punk, and country and everything in between that has real wooden instruments and amplifiers. Tight but loose, aggressive but melancholy, and somehow drunk but sober, a wonderful Westerberg-like ear for a top melody and proud of the association and influence.

Let’s go! ‘Fly Or Die’ nails their colours to the mast and they fly their freak flag high and proud with a cool hook n melody and a barnstorming tempo. We’re up and running, and the tunes just keep flowing like good wine at the best barn dance you ever attended. Sure, they have more than passing resemblence in Westerbergs former band, but who gives a shit (I don’t). Rock’n’Roll needs more bands like this. Remember Beach Slang they had the chops but simply vanished off the face of the earth, so the Mats’ shoes need filling, and Trash Kickers have the chops.

The mood gets chilled as the band hits ‘Signage’ and every corner of your head is filled with pleasure explosions feeding the big chorus with beer being shaken everywhere as the sweat drips off your speakers, great stuff. ‘Angel’ takes the tempo right down, and the countrified twang rings out like the best Baird and Prophet Green on Red late-night duet. Man, this band fits right in the top pocket of this style, nailing it with a fistful of top tunage, and that’s not something that is easy to do, and just the fillup I needed.

The snotty rock n roll is back in full swing with ‘No Danger’, and that swagger continues through ‘Perfect Strangers’ before the heartfelt ‘Nothing Left’ reminds us that every time you feel like giving up, rock n roll will pull you through. Crack open the bottle of red and fire up the gob iron and acoustic guitar for ‘Wild Stab’, a splendid tune with a heart-melting cello taking the lead for good measure as this late-night hustle takes its toll another fine detour on an already most excellent record. The album closes with ‘Graduation Girl’, and we’re done. Me, I’m heading back for seconds and hoping it won’t be too long before others catch on and they tour shit island, and I get to see them play these tunes live in some sweaty dive bar.

Rock n Roll music is alive and well and its hard to believe this is their debut album but this is just about the finest new album I’ve heard all year Hell for a debut rock n roll record this is as good as I’ve heard in an age, join me in picking up a copy and let Trash Kickers into your ragged rock n roll life – Buy IT!

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Author: Dom Daley

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ASH – Video for ‘Girl From Mars’ 2026

ASH – Video for ‘Girl From Mars’ 2026

30th anniversary edition of debut album ‘1977′ out 16th October via BMG

World tour on sale now

Ash are today sharing a live session recording of ‘Girl From Mars’. It arrives as the band continue their plans to celebrate the 30th anniversary of their seminal debut album 1977, from the which the song has taken on legendary status.

Drummer Rick McMurray comments on the newly released session version:

“The past. Last year we took you on a space trip with the new Ash album Ad Astra.

The future. At the end of this year we bring you the live extravaganza that is the 30th anniversary of no. 1 debut 1977.

The present? We’re tying all this together to give you an updated live version of the single that propelled us to the stars this week in 1995. Taken from earlier live stream sessions we have an audio visual blockbuster on full thrust to get you all amped up for what’s going to be an explosive anniversary celebration jaunt around the planet. Strap yourselves in. Set controls to Mars and let’s ride this rocket through time and space!”

Originally released in 1996, 1977 is the #1 platinum-selling debut album that launched Ash from teenage upstarts to Britpop-era icons. Three decades on, this 30th Anniversary Edition celebrates the album that defined a generation with its breakneck energy, razor-sharp hooks and unforgettable anthems including ‘Girl From Mars,’, ‘Goldfinger’, ‘Kung Fu’ and ‘Oh Yeah’. The 30th Anniversary Edition will be available on 2LP EcoRecord Green & Black ‘InkPlosion’ vinyl in a Gatefold Sleeve, 2CD Digisleeve plus booklet, and digitally. Pre-save / Pre-order the new collection HERE.

The band are also adding more dates to their global 1977 tour which kicks off in September, with stops across Australia, New Zealand, Southeast Asia, Japan and Europe before wrapping up in the UK and Ireland in December. For more information, visit the band’s website HERE.

The digital and 2CD edition features on Disc 1 the original album in full – 12 tracks of high-voltage power-pop that still sound as urgent and melodic as ever, such as ‘Lose Control’ and ‘Darkside Lightside’. It also includes four additional tracks: the long-lost, near-mythical track ‘Bittersweet Blue’, ‘Oh Yeah (2026 version), ‘Girl From Mars (Demo 2026 Mix) and ‘Gone The Dream (Acoustic 2026 Mix)’.

Disc 2 captures a special live set from STABAL Studios in 2021, where the band perform 1977 in full, along with fan favourites from the era, including ‘Oh Yeah’ released as the first track from the performance, plus ‘Coasting’, ‘Sneaker’, ‘American Devil’, and ‘Silver Surfer’.

The 2LP presents the original album across LP1 with a specially curated collection of B-sides on LP2, that highlight the depth and creativity of the 1977 era. Standout tracks include ‘Day Of The Triffids’, ‘Luther Ingo’s Star Cruiser’, ‘Astra Conversations With Toulouse Lautrec’, ‘Cantina Band’, ‘Sneaker’, ‘T Rex’ and more.

ASH – GLOBAL TOUR DATES 2026

30th July – Y Not Festival, Pikehall, Derbyshire (UK)
31st July – Kendal Calling, Hackthorpe (UK)
4th Sept – Rosemount, Perth (AUS)
5th Sept – Freo Social, Fremantle (AUS)
8th Sept – Lion Arts Factory, Adelaide (AUS)
10th Sept – The Tivoli, Brisbane (AUS)
11th Sept – Northcote Theatre, Melbourne (AUS)
12th Sept – Metro Theatre, Sydney (AUS)
14th Sept – Tuning Fork, Aukland (NZ)
15th Sept – San Fran, Wellington (NZ)
17th Sept – Unit, Tokyo (JP)
18th Sept – Quattro, Tokyo (JP) – SOLD OUT
19th Sept – Meta Valley, Osaka (JP) – SOLD OUT
21st Sept – Hard Rock Cafe, Singapore (SG)
23rd Sept – Hong Kong Portal, Hong Kong (HK)
10th Nov – De Helling, Utrecht (NL)
11th Nov – Gebaude 9, Cologne (DE)
12th Nov – Hole44, Berlin (DE) – SOLD OUT
15th Nov – Effenaar (Small Room), Eindhoven (NL) – SOLD OUT
25th Nov – Electric Ballroom, London (UK)
26th Nov – Electric, Bristol (UK)
28th Nov – Spiegeltent, Limerick (IE)
29th Nov – Cyprus Avenue, Cork (IE)
1st Dec – Arena, Torquay (UK) – SOLD OUT
2nd Dec – O2 Guildhall, Southampton (UK)
4th Dec – Tramshed, Cardiff (UK) – SOLD OUT
5th Dec – UEA, Norwich (UK)
6th Dec – Rock City, Nottingham (UK)
8th Dec – Albert Hall, Manchester (UK)
9th Dec – Olympia, Dublin (IE) – SOLD OUT
10th Dec – Ulster Hall, Belfast (UK) – SOLD OUT
12th Dec – Northumbria SU, Newcastle (UK)
13th Dec – Barrowlands, Glasgow (UK)
15th Dec – O2 Institute, Birmingham (UK)
16th Dec – O2 Academy, Leeds (UK)
17th Dec – Roundhouse, London (UK) – SOLD OUT

Ash: Website | Facebook | Instagram | TikTok | X | YouTube

Jim Bob – ‘The Panic Room’ EP (Cherry Red Records)

Jim Bob – ‘The Panic Room’ EP (Cherry Red Records)

After the glorious success of releasing two new records on the same day (Automatic & Stick) Jim Bob wastes no time before knocking out another fine 10″ record with four brand new tunes.

To be honest, after pre-ordering a signed copy from the source, I’d forgotten about it as it was what seems like a few months ago at least, so imagine my surprise when the postie knocked on my door with a brown mailer containing this record. The last 10″ EP Jim Bob did was some dazzling covers, which, to be honest, I’d happily pay for a new EP of that nonsense every month for a year if he was to be so inclined to cash in on his fanbase and twist a bunch of other people’s babies, but that’s for another day. I digress; this here EP is new original tunes. So let’s get down to marking young Bob’s homework, shall we?

Kicking off with the heads-down, amps-turned-up title track. A short, sharp shocker of a tune that deals with the mood of today in typical Jim Bob style. We thought the days of Boris buffoonery were over, but alas, it was just the beginning. I’d say it’s a peek into Bob’s world, but it’s a fuckin panic room so there’s no windows, but it’s suitably claustrophobic and chaotic and a wonderful noise to get us up and running.

Slow down, young man ‘Grassroots’ is next and a more stable intro before heading off into some jig of a middle eight as we thump on with yet more Jim Bob social commentary. Next up is ‘Belinda’s Racist Hips’, someone I fear we all know as Jim Bob dives into some wonderful twisted guitar pop that is a real earworm and a joy to hear turned right up, it’ll annoy the flag shaggers if they were even capable of unravelling the lyrics. The shame is it’s only four bloody tracks, but I’ll take it every time. Closing off with the thumping good tune of ‘Hope For The Best’ and looking for the good in every situation and person, Jim Bob signs off with a cheeky smile and a wink, and I love what I’m hearing now. Go get it, and if you’re lucky, track down a signed vinyl record; it’s worth it.

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Author: Dom Daley

Tuk Smith & The Restless Hearts – The Key Club, Leeds – 24th July 2026

Tuk Smith & The Restless Hearts – The Key Club, Leeds – 24th July 2026

We here at RPM love the underdog, we all love an underdog, right? Atlanta-born and bred singer/songwriter Tuk Smith is a survivor, a rock n’ roll renegade who breathes and sweats it from every pore. From humble beginnings playing guitar with glam punk legends The Heart Attacks, through the major label years fronting The Biters and then going it alone with The Restless Hearts, Tuk has had his fair share of ups and downs, yet he comes back stronger each time.

Last album ‘Rogue To Redemption’ went a long way to prove his knack for a catchy chorus is up there with his contemporaries. The man and his band now pay a long overdue visit to the UK with a few festival dates and club shows to give us a taste of what they have to offer.

As local punks Cyanide Pills blast through the PA, Tuk and the boys waste no time getting down to business with opener ‘Little Renegade’ and immediately, the tone for the night is set. With his Telecaster slung low, fist in the air and power chords ringing in the ears, there is already that certain feeling in the air that this is going to be special. With the songwriting suss of Butch Walker and the rock power of AC/DC and Thin Lizzy, it was never going to fail to impress. It’s already hot in this room, but the temperature has just skyrocketed in line with the rush of adrenaline. A killer opener.

Tuk Smith writes songs that have the power to fill stadiums, with hooks aplenty and choruses to die for. His band look the part and are as tight as their denim strides. ‘Ballad Of A Misspent Youth’ has an urgency live, upbeat and instant, it pounds to a relentless, high-energy beat and has a chorus that begs to be sung loud…and sing we do.

‘Sadie Mae’ from last year’s ‘Troubled Paradise’ EP is played early. Is it a power ballad? It’s certainly not Bon Jovi, but it has an instant, emotive chorus that sticks and a ripping solo to boot, it’s a highlight from the EP and from tonight’s set. Tuk and guitarist Tobin trade licks and have a good stage rapport, in fact, Tuk is more engaging than I thought he would be. Informing us that he will keep chat to a minimum as there is a curfew, Tuk proceeds to chat and joke between every song. “Do not put that on the internet!” he says between questioning UK swearing etiquette, telling dad jokes and telling us his new drummer is the illegitimate son of Freddy Mercury.

Tuk claims to have blatantly ripped off Thin Lizzy for ‘Girls on The East Side Of Town’, but we’ll forgive him as it’s a killer tune. With trademark twin guitars and a chorus many bands would die for, it was never going to fail to be a highlight tonight, and it’s one that gets the crowd fired up.

“You wanna hear Glorybound or Troubled Paradise?” he shouts after informing us they only have time for one. With an equal response for both, Tuk shrugs his shoulders and plays both anyway. The Biters ‘Gypsy Rose’ follows, it’s a welcome surprise, as is their cover of The Replacements ‘Bastards Of Young’.

They close with the righteous anthem that is ‘Take The Long Way’, sending us off into the night to mingle with the Peter Kay fans who are just leaving Leeds First Direct Arena up the road.

Nothing beats the pure raw power and adrenaline of watching a small band fighting and giving their all like their life or their next meal depends on it. And the truth of the matter is that it probably does. Tuk Smith & The Restless Hearts may not be filling stadiums, but that doesn’t stop them from playing like they should be. After seeing a couple of big rock shows recently, namely Metallica and Sammy Hagar, it’s good to be back in my comfort zone. In a small club where you can see the whites of the artist’s eyes, the beads of sweat on their forehead and feel the bass reverberate through your bones. This is live rock n’ roll in its true, undiluted form, and Tuk Smith & The Restless Hearts play it like they mean it. A life-affirming rock show that keeps my faith in live music alive.

The Setbacks – ‘Painkillers’ (Self Release)

The Setbacks – ‘Painkillers’ (Self Release)

I haven’t had the pleasure of listening to The Setbacks since 2024’s ‘Paint The Town ‘, well, fast forward a couple of years and ‘Painkiller’ is prescribed alongside their live at the Hope And Anchor set. To be fair, the band hasn’t been sat on their backsides for the last two years, as this album is bursting with fifteen anthemic punk rock tunes mixing traditional punk rock with some oi and pop punk for good measure.

The band clearly love what they do, and it is worn loud and proud through their music. Keeping the spirit of punk alive and on songs like ‘Blue’ adding loads of melody and not forgetting to pen catchy melodies for good measure, making the record fun and not taking themselves too seriously and concentrating on having a good time with their music. The Setbacks have been at the coal face since the autumn of 2001, so know their way around a tune or two. They’ve also cut their live chops with the likes of Lagwagon, The Misfits, UK Subs, The Avengers, DOA, 999, Sham 69, Frenzy, Goldblade, Citizen Fish, Dragster, Pussycat and the Dirty Johnsons, to name but a few.

‘Dark Clouds’ strays from the crash bang wallop of punk or what people might expect with a darker melody and decent riff. ‘I’ll Be Fine’ borrows the spirit of the Subs, if I may be so bold, with a solid Bassline being the glue to hold the track together as it weaves into something really good.

They’ve squeezed a lot of material onto this album, and you certainly get bang for your buck. The two guitars also add a little something extra at times, touching on some of the Dianno early Maiden duelling guitars, but in no way would I call this metal in any shape or form you watch Lee turn up in stripey spandex for their next gig.

Take Painkillers carefully and never overdose unless it’s on the stereo and has Setbacks on the bottle, in which case turn it up and repeat prescription, it’s what the punk rock doctor would recommend.

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RICKY WARWICK – NEW SINGLE‘SEEK ZEN DESTROY’ FT. PHIL COLLEN

RICKY WARWICK – NEW SINGLE‘SEEK ZEN DESTROY’ FT. PHIL COLLEN
NEW ALBUM
FIRE & VENGEANCE
OUT SEPTEMBER 4TH VIA EARACHE
PRE-ORDER HERE
 
UK HEADLINE TOUR IN NOVEMBER



 
ANNOUNCES SEPTEMBER IN-STORE DATES
ON SALE JULY 17TH @ 10AM
TICKETS HERE

Ricky Warwick has released the new single ‘Seek Zen Destroy’, which features legendary guitar player Phil Collen from Def Leppard on guitar and backing vocals. The track is taken from his forthcoming album Fire & Vengeance, which is coming out September 4th via Earache Records. The album will be available across multiple colour vinyl variants, signed editions, exclusive bundles and more, and is available for pre-order here.

The new single gives a nod to the 70’s funk and soul legends Warwick loves such as The Isley Brothers, Funkadelic and Earth, Wind And Fire but lyrically, “’Seek Zen Destroy’ is about the way control gets dressed up as comfort.” Ricky says.

“The song takes a swing at hypocrisy, fear, fake salvation, and the modern habit of selling people peace while quietly robbing them blind. It starts with old-world repression, the idea that even joy and dancing can be policed, then pulls that same spirit into the present day, where spirituality, rebellion, identity, and even truth itself gets branded, packaged, and sold back to us.

“At its heart, it’s about people being fed fear, flags, excuses, and easy answers, while real freedom keeps getting pushed further out of reach. “Seek Zen Destroy” is the contradiction: everyone claims to be searching for peace, enlightenment, and meaning, but the machinery around us is built to divide, distract, and consume. It’s a song about trying to find something real in a world full of false prophets, stolen language, and beautifully marketed bullshit.”

‘Seek Zen Destroy’ follows the release of the explosive title track, which came out in May and the accompanying video captures the reality of life on the road – candid backstage moments, travelling, stage walks, live crowds and the grit and camaraderie that fuel Ricky Warwick & The Fighting Hearts night after night.


Driven by raw guitars, defiant energy and Warwick’s unmistakable voice, Fire & Vengeance captures the spirit of resilience and rebellion that has defined his career for decades. The album also features special appearances from Phil Collen (Def Leppard), Doug Aldrich (Whitesnake / The Dead Daisies), Charlie Starr (Blackberry Smoke) and Darren Holden (The High Kings).

Speaking about the album, Ricky says, “I wanted to make an album that captures everything I love about rock’n’roll – its power to bring people together, to make us dance and connect with one another, even in a world that often feels consumed by fire and vengeance. At its core, this record is about finding hope and unity in the chaos.”

It’s a record that showcases a musician at the very peak of his powers, able to switch from tattooed blue-collar anthems to Stones-y balladeering and even the traditional Irish music that surrounded him growing up in County Down, Northern Ireland. Lyrically, he’s up there with the very best – a working-class poet whose songs combine the autobiographical, the observational, the political, the cynical and the heartfelt.

From fronting The Almighty and leading Black Star Riders to his acclaimed solo work alongside Ricky Warwick & The Fighting Hearts, Ricky Warwick has remained one of rock’s most respected and enduring voices and one of rock’n’roll’s last true rebels.

Having spent almost 40 years marching to no beat other than his own, Fire & Vengeance comes just 18 months after the #25 UK album Blood Ties, a record that saw Warwick return home to his native Northern Ireland after almost 20 years living in California.

Working quickly has given the 10 songs that make up Fire & Vengeance their undeniable energy. “I’m not one of those guys who needs to disappear into a cabin in the mountains with all this fancy gear,” Warwick says. “All I need is a room and a guitar, and the ideas come. It’s a working-class thing, something I had instilled in me when I was a kid.”

To celebrate the release, Ricky has just announced a nine date run of in-store shows in September before a full tour across the UK and Ireland in November.

Ricky adds, “I cannot wait for you to hear ‘Fire & Vengeance’ in full. Thank you for rocking with me all these years – here’s to many more together!”

For tickets and more details please head to https://www.rickywarwick.com/

IN-STORE TOUR – SEPTEMBER 2026
Sun 6 Sept       Crash – Leeds
Mon 7 Sept     Jacaranda Baltic – Liverpool
Tue 8 Sept       Assai – Glasgow
Tue 8 Sept       Assai – Edinburgh
Weds 9 Sept    Beyond Vinyl – Newcastle
Thurs 10 Sept  Rough Trade – Nottingham
Fri 11 Sept       Rough Trade – Den, Street
Sat 12 Sept      Bacchus – Kingston
Sun 13 Sept     Vinilo – Southampton

FIRE & VENGEANCE TOUR – NOVEMBER 2026
Thu 5 Nov        Limerick – Dolans
Fri 6 Nov          Dublin – Grand Social
Sun 8 Nov        Belfast – Limelight 2
Tue 10 Nov      Edinburgh – La Belle Angele
Wed 11 Nov    Wolverhampton – KK’s Steel Mill
Thu 12 Nov     Nottingham – Rescue Rooms
Fri 13 Nov       Manchester – Gorilla
Sat 14 Nov       Newcastle – Anarchy Brew
Wed 18 Nov    Southend – Chinnerys
Thu 19 Nov     London – 100 Club
Fri 20 Nov       Norwich – Waterfront
Sat 21 Nov       Cambridge – Mash
Sun 22 Nov      Bristol – Thekla
Wed 25 Nov    Portsmouth – Kola
Thu 26 Nov     Trecco Bay – Planet Rockstock

FACEBOOK | INSTAGRAM | X | YOUTUBE | SPOTIFY

WET DENIM -‘Bite Back’ (Mean City Records)

WET DENIM -‘Bite Back’ (Mean City Records)

From the gutters of Indianapolis, Indiana, Wet Denim is a no-frills Rock n’ Roll band with an appetite for having one white cowboy boot on the monitor (old School), the other stood firmly in a time when Motorhead were kicking up a shit storm, and Noddy Holder was king of the castle with Slade. Two seemingly important features of Wet Denims’ arsenal and why the hell not. Aggressively catchy, the record begins with ‘Double Fister’ (oh er Mrs), those influences are worn proudly on their denim battle vest. The boogie is turned up on ‘One Should Know’ imagine Spider (back in the day, fifty-somethings will remember) jammin with Slade over a few Watney Party Sevens and you’re at the right house party.

The full-on heads down and let’s rock like there’s no tomorrow, and the fuzz are on the way ‘Flatlined’ is a blast and a lot of fun with zero fucks given. There isn’t any new ground trodden here, but it’s well delivered, and when The Ramones influence is ushered in for ‘Loosen Up’, there’s nothing not to like here, not reinventing the wheel so much as getting your groove on with said wheel and rolling on into 2026 and having a blast doing it.

There’s a real carefree vibe about this record just a bunch of guys living their best lives playing rock n roll hard and fast and having a hoot, and it would certainly get the party started ‘Out Of Love’ is a stomper and they finish off with a tip of the hat to all things scandi rock as ‘Keep On Knockin’ turnes it up to go out in a blaze of glory. Rock like fuck kids and turn it fuckin up! ‘Bite Back’ is turning up the summer heat in style, go get some.

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Author: Dom Daley

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THIRSTY QUIREBOYS CELEBRATE THE RELEASE OF ‘GOD BLESS AMERICA – BEST OF THIRSTY’ WITH SPECIAL LIVE EVENT AT THE SPICE OF LIFE, SOHO

THIRSTY QUIREBOYS CELEBRATE THE RELEASE OF ‘GOD BLESS AMERICA – BEST OF THIRSTY’ WITH SPECIAL LIVE EVENT AT THE SPICE OF LIFE, SOHO

Following the release of ‘God Bless America – Best of Thirsty’, the Thirsty Quireboys will host an exclusive evening at The Spice of Life, Soho, on Thursday 30 July 2026, celebrating the album’s launch and the enduring legacy of Guy Bailey, founder of The Quireboys and architect of Thirsty’s distinctive sound.

The event will feature an opening set by Bones of the City (7.30 pm), followed by an 8.30 pm video premiere, Q&A, and live performance from Spike, joined by Tom Golzen (guitar), Chris Johnstone (keyboards), Matty Cassidy (bass), and Simon Hanson (drums). Produced by Chris Kimsey, the album brings together Bailey’s songwriting partnership with Irina D, reimagined through Spike’s powerful vocals – a posthumous collaboration that reunites The Quireboys’ founding duo in spirit and sound.

Limited to 100 guests, tickets are £20, available: Here Part of the proceeds will be donated to Nordoff & Robbins in memory of Guy Bailey.