Def Leppard & Mötley Crüe – The World Tour 01.07.23

Def Leppard & Mötley Crüe – The World Tour 01.07.23

Last night (01/07/23) Def Leppard took to the stage at Wembley Stadium, this was a bucket-list gig for me having wanted to see them since 2009! They shared the stage with Mötley Crüe, which is enough to get any rock fan excited. I’ve been brought up in a family where music is special, and sharing experiences with those within our family means a lot – from this gig, it’s evident that it’s not just us, but a trait of the rock community. I was surrounded by people that crossed generations and a mini rocker singing along to hysteria brought so much joy to me. 

After arriving at Wembley, the sight of the relatively empty stadium was a reminder of the extortionate cost of these tickets and challenging times we live in. From those I spoke to, there was a general sense of confusion as to why such a large venue was chosen for this show as it was unlikely to be a sell-out. Although the absence of a packed stadium was a disheartening backdrop, Def Leppard’s ability to fill the stadium with their music and create such a powerful experience speaks to the talent that they have.  

Def Leppard’s setlist of 17 songs was a collection of greatest hits, pretty much guaranteeing every fan’s favourite was given the spotlight. The setlist included: ‘Let’s Get Rocked’, ‘Rocket’, ‘Hysteria’, ‘Rock of Ages’ and ‘Pour Some Sugar On Me’. One of the standouts for me was their performance of ‘Bringin’ on the Heartbreak’ – the ability to seamlessly blend rock energy with heartfelt emotion was something special. Throughout the setlist, the band blessed us with their exceptional musicianship, seamlessly weaving in guitar solos, bass lines, and thunderous drumbeats. To me, they’re withstanding the test of time, and continue to deliver top-tier performances.

Def Leppard surpassed all of my expectations. Joe Elliot’s vocals felt age-defying? Generally, we expect (and accept) that over time vocal abilities diminish but the power behind his voice was phenomenal. Rick Allen’s ability to create such a powerful and dynamic rhythm given the complication of his accident is nothing short of awe-inspiring. Collen and Campbell create a duo that is complimentary and layer songs so well. Savage’s depth and groove undoubtedly contribute to the distinctive rock sound we all love and expect from the band.

Having seen Mötley Crüe the previous night at the Underworld, I knew this wouldn’t quite be the same. Having read the reviews of previous dates, I was apprehensive of how their sound would carry through such a large venue. For the opening songs, the sound just wasn’t right. This improved as they moved through the setlist and ultimately, they delivered a solid, high-energy performance. The 16-song setlist included hits such as ‘Live Wire’, ‘Girls Girls Girls’, and ‘Kickstart My Heart’. The band completed a compilation of ‘Rock and Roll, Part 2’ / ‘Smokin’ in the Boys Room’ / ‘Helter Skelter’ / ‘Anarchy in the U.K.’ / ‘Blitzkrieg Bop’ / ‘(You Gotta) Fight for Your Right (To Party!)’, and as you can imagine, it went down well. 

During what was an overall impressive performance from Mötley Crüe for me it was dampened by Tommy Lees request for females in the crowd to “get their titties out” and subsequently pressuring these females. There was something quite infantile about this, and for it to be coming from a 60-year-old man felt quite uncomfortable. Now, I don’t doubt that for some, seeing a few boobs added to the experience. However, for me, in the context of 2023, where there is a growing emphasis on creating safe and inclusive spaces for all concert attendees (including children), Tommy’s remarks and subsequent pressures were out of touch and inappropriate. Nowadays, the use of cameras, phones, and large screens could be really damaging to the individuals that willingly participated in this. Concerts should be an opportunity for people to come together, enjoy music, and feel a sense of community, and safety, it should be free from derogatory and objectifying comments.

Author: Evie Brooks

The Conscience Pilate – ‘Army Of Devils’

The Conscience Pilate – ‘Army Of Devils’

‘Army of Devils’ marks the return of Toronto indie art rockers The Conscience Pilate to new music. After a 25-year hiatus, Edward Pond and Neil Leyton decided to reunite and immediately wrote “Army of Devils” over a bottle of Rioja. Their song title is ripped from the cover of a violent pulp-fiction action novel Edward owned as a kid.

‘Army of Devils’ is a song about not letting the demons in our head mess up the good things in our life, and how we sometimes wreck it a little anyway. Starting in the summer of 2023 The Conscience Pilate will release a new single each month, beginning with “Army of Devils”. It takes a village, so while Pond and Leyton remain the core of the band, many of their musical cohorts from across the years are stepping up to play drums, and guitars, record and pour synergy into this project.

D I S C O V E R

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The Venomous Pinks – ‘We Must Prevail’

The Venomous Pinks – ‘We Must Prevail’

Arizona-based, all-female punk band The Venomous Pinks are sharing their new song and music video “We Must Prevail,” made in collaboration with Eternal Film Productions and directors Nikki Carmela and Alexander Thomas. The video is a protest against the abortion bans

Steve Conte unveils brand new video

Steve Conte unveils brand new video

New York City guitarist, singer & songwriter Steve Conte has released a video for his new single, co-written with Andy Partridge (XTC) titled “Fourth of July.”

The song & video serve as a follow-up to his 2021 acclaimed solo album Bronx Cheer, and offers an early preview of his upcoming new LP due out in 2024 via Steven Van Zandt’s Wicked Cool Records.

Steve says:

“Fourth of July” was written with one of my favorite songwriters of all time, from one of my fave bands – Andy Partridge of XTC. I feel blessed to be writing with one of my heroes…and to be recording for Little Steven Van Zandt’s label, Wicked Cool Records,” says Conte.

“With a title like “Fourth of July” I knew I didn’t want to make this song lyric at all patriotic American or about Independence Day – I wanted it to be about the sparks that fly, the fireworks that go off in a relationship. One with intense chemistry…love, fulfillment …bombs bursting in air, ya know? Explosions, yes – but no stars & stripes.

The chorus of the song is one that I’ve had kicking around since the 90s. I wrote the hook while getting ready to leave my NYC apartment for some July 4th event – I just started singing about what was happening that day. The hook was all there; chords, melody, the title lyric, the phrasing – complete with that odd timing. I thought it could be something special because I never forgot it.”

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DÖGS OF WAR – Camden Underground 30/06/2023

DÖGS OF WAR – Camden Underground 30/06/2023

I was one of the lucky ones that bagged myself a ticket after taking a calculated risk that  DÖGS OF WAR, would in fact, be Mötley Crüe so here we go… my first review.

Let’s start at the beginning, I was introduced to Mötley Crüe by age 8 (mum would say bad parenting, dad would say FUCK YEAH!). For the last 17 years, crüe have taken me through the highs and lows of my teenage years and young adulthood, seeing them in such a small venue was a dream come true.

The Underworld is known for its intimate setting and raw energy, and was the perfect venue to host this special performance by DÖGS OF WAR. Despite the passage of time (and a lot of doubters), these aging rockers proved once again that their fire still burns bright, as they unleashed a small yet mighty gig that will undoubtedly be etched into my memory and of all those fortunate enough to be in attendance.

With the dim lights and the distinct scent of pints, hairspray and excitement permeating the air, the atmosphere was reminiscent of the gritty rock clubs of the past, creating an electric ambiance that set the stage for something incredible. I’ve often said I grew up in the wrong generation, and after attendance of this gig I’m envious of all the old rockers out there (like my dad) that got to experience this insane atmosphere at almost every gig.

Kicking off the night with an explosive opener, the band set the tone with “Wild Side”. DÖGS OF WAR continued to deliver hit after hit. Songs like “Dr. Feelgood”, “Girls Girls Girls” and “Shout at the Devil” kept the energy high. In total, the band played 11 songs, including some of my all-time favourites, ‘too fast for Love’ and ‘Smokin’ in the Boys Room’. What didn’t I expect at this gig? A cover of the Beastie Boys ‘Fight For Your Right’ and Ramones ‘Blitzkrieg Bop’. Every song resonated with the crowd, within my view not one person stood still. The crowd passionately sang along and gave thunderous applause at every opportunity.

For me, a special shoutout to Vince is needed, it’s well known that his voice is not what it was, but unlike some he, and us fans have accepted that (take note Axl). Despite this, with the aid of some well-timed backing, and the crowd’s help he captivated us all. My jaw dropped when he actually hit (and well) one of his higher notes in ‘Wild Side’. His stage presence was felt all night, he kept the energy up. The proximity between him and the crowd created an electric connection, and I’m sure this played a part in his energy and determination to make it a night to remember.

I have to name it, it’s heart-breaking to see the band without Mick, but John 5 seamlessly slipped into his new role, delivering solos and showcasing his own unique style. His performance, coupled with the band’s chemistry ensured that the essence of Mötley Crüe was preserved, even with the absence of Mars. I for one am excited about the next chapter following the conclusion of this world tour!

Authr: Evie Brooks

Various Artists – ‘Bomb Your Brain’ (Pigmé Records)

Various Artists – ‘Bomb Your Brain’ (Pigmé Records)

Having avidly followed those Manx rockers Mad Daddy, and as I live in France, it was a no brainer for me to purchase this ear-rattling compilation album from French label Pigmé Records. This is the second volume of garage rock goodness, and while it includes Mad Daddy’s most recent single, ‘Road Racer’, they are in good company from all over the world.

I was only previously aware of  Swiss rockers The Jackets, whose inclusion of ‘Queen Of Pill’ gives The Fuzztones a run for their money. I see they are playing Paris in September with The Darts (USA), who feature here with ‘Intersex’, and that is a tempting double bill, as they really suit each other. French rockers La Flingue offer ‘Selbsmodell’, while Belgium is ably presented by ‘I Ain’t Dead’ by Chiff Chaffs and their swelling organ (ooer).

‘Strange Baby’ by The Go Go Killers (USA) sounds like it’s sung in an unknown language, but is a pleasing clout to the head, while ‘It’s A Girl’ by Strange Attractor (Canada) will get you up and dancing. ‘Stab Me’ by Slocks (Italy) is altogether darker, as you’d imagine, and Mad Daddy rev things up with the aforementioned ‘Road Racer’. I’m determined to see them one day!

Side two kicks off with ‘Confusion’ by The Cogs (Italy), proving that three chords and a lot of energy still works well, and ‘See That Girl’ by The Mocks (Netherlands) is very groovy, baby. They are definitely worth researching further. Sinister Six (USA) obviously have an extensive Cramps collection, if ‘Pretending To Be High Class’ is anything to go by, very nice.

‘Veneno Barato’ by Nestter Donuts (Spain) pounds along, probably with a sore throat by now. Short and snappy. The Fadeaways (Japan) provide the addictive ‘She’s A Rat Trap’, another top tune, and Davilla 666 (Argentina) provide the grungy ‘Chloe Sevigny’.

For once, I could afford the vinyl! As it didn’t include the crippling customs tax, not coming from the UK, but you can possibly pick up a copy via Mad Daddy’s Bandcamp page. Get on it!

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Author: Martin Chamarette

Marc Eden – ‘Marc Eden’ (Cargo Records)

Marc Eden – ‘Marc Eden’ (Cargo Records)

I know it’s only Rock n Roll but I like it, I like it ta lot and Marc Eden lives it and then when he’s ready he’ll knock out an album full of the stuff. Harking back to the most recent not-to-distant stuff when he teamed up from Out of the Wilderness with the sadly departed Guy Bailey for the first Peckham Cowboys album of rough cuts through to the more polished albums but before that, there was DNA Dolls and Men and Gods. Timo passed away as did the phenomenal talent that was Darrell Bath but they all leaned a hand to Marc’s talent and helped form some of his finest music. He then found a kindred spirit in Peter Doherty of The Libertines and toured opening the shows as a solo artist for the Puta Madres it then went all quiet for half a decade but now Marcs is back and comes out swinging with this here album featuring collaborations from Alabama3, Congo Natty, and Peter Doherty.

Of the ten tracks on offer it veers from the opening acoustic lament of ‘Next Of Kin’ with its thoughtful musing as Eden uses his fantastic voice from hushed whispers to a whisky and cigarette-soaked rasp as the waves crash in and the song gently unfolds. ‘Free’ is a more aggressive beast with the pure chirping Rock n Roll guitar slash and hacking on a rollicking tune with a splendid piano holding court in the corner. He’s certainly got his mojo happening here and doing the 70s T rex meets Mott thang and doing it rather well.

‘Cruel Britannia’ is a howling kick to the bollocks mixing elements of the first Cowboys album with some wild and tasty guitar licks and a fuzzy morning-after vocal. Eden is on fire! He gets his funk on for ‘Mother Mary’ as he delves into the medicine bag of 70s white boy funk that the Stones mastered around the time of Some Girls and even further back than that. There’s a lot going on and you get drawn in on the rhythm and that filthy raw riff.

He chills out on ‘Mysterious’ with a great vocal but gets even looser on the fantastic ‘All Gods Children’ – great lyrics and cool vibe and those handclaps are killer. He goes slightly down a Doors route for ‘Suicide Blues’ and it works really well as the song drifts along.

It’s how Eden is rolling on this record veering between slightly chilled off kilter rock n roll al a Keith Richards and some straight-ahead rock n roll mixing some seventies beat combos on the slower more dreamy numbers Eden reminds me of Scott Weiland when he sings with hushed tones which is what might have drawn Slash to Edens door many moons ago.

The album closes on the ballad that is ‘Wish’ and a fine full stop it is too. If you want to rediscover the fine vocals of Marc Eden or just looking for a record that oozes Rock n Roll and all its purest components then dive in, this album will satisfy all your needs and cravings. Marc Eden take a bow son you’ve delivered what the kids call a fuckin’ banger. As this journeys through your creative mind meanders like a river sometimes fast, sometimes slow, never predictable but always moving forward and often fascinating. Do you want my advice? Buy it!

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Sparks/Mr.B The Gentleman Rhymer – The Civic At The Halls, Wolverhampton – 22nd June 2023

Sparks/Mr.B The Gentleman Rhymer – The Civic At The Halls, Wolverhampton – 22<sup>nd</sup> June 2023

Sparks are a band I’ve long since wanted to see live but never actually got around to getting a ticket for. So, when the legendary (and I mean that in every sense of the word) band added a date to their ongoing tour itinerary in promotion of their new album ‘The Girl Is Crying In Her Latte’ at the recently reopened Wolverhampton Civic, it was a total no-brainer for yours truly. A chance to see one of the all-time greats of avant-garde rock music in one of the very best live music venues the UK has to offer.

We just have to get there first, the traffic is horrendous tonight, just trying to get out of our home town of Newport takes nearly thirty minutes (it normally takes us five) so unfortunately we arrive at The Halls a little too late to see most of tonight’s support act Mr.B The Gentleman Rhymer (who is actually Jim Burke from Collapsed Lung) playing his very own genre of hip hop called chap hop. His set (or what I get to see of it) largely involves him rapping in pronounced English tones whilst playing a banjolele over backing tracks and the audience here appear to love it, especially when he drops in a cover of ‘Big Boy’ by tonight’s headliners. In his online biog Burke proclaims his creation to be akin to “Noel Coward and Afrika Bambaataa enjoying a sweet sherry together.” Me, I close my eyes and can’t get the image of a Cassetteboy mash up of Jacob Rees-Mogg out of my head. This immediately sends shudders right down my already hunched up sciatica riddled spine, that’s beacuse tonight’s gig is also one of those dreaded things called, an all-seated show! Arrrrrgh!

Yup, Sparks appear to prefer to play these kinds of shows here in the UK, so its makeshift seating for my first gig back in The Halls since it reopened just a few weeks back and I can’t help by feel just a little bit jealous of the Amon Amarth fans who got to air row their way through their favourite band’s set in the venue just a week or so earlier.  To be honest, seating does actually work well for Sparks, simply because their live show is, just like their back catalogue, all over the place. There is a point tonight where the Mael brothers jump from the electronic pop of the title track of their new album to the unconventional deep cut art rock of ‘Beaver O’Lindy’ by way of the almost new wave throb of ‘Angst In My Pants’ and the poor girl sat a few rows in front of me is doing a Clodagh Rodgers, up and down like a jack in the box, not quite knowing whether to dance or just sit and watch the art (because there is no other word to describe it) of Sparks unfold before our eyes.

As it turns out tonight is also the final date of Sparks’ run of European theatre size shows before they play Glastonbury over the weekend, and me being me, I’d perhaps half expected them to mix the set up a bit ready for a greatest hits overload to please the Glasters masses, but no this is Sparks and they do things their way, so if you want ‘Beat The Clock’, ‘Tryouts For The Human Race’ or perhaps ‘Get In The Swing’ look away now, because what we do get is a most pleasurable trip through six tracks from thew new album (my pick being the uproarious ’Nothing Is As Good As They Say It Is’) along with the likes of  ‘Balls’, ‘Bon Voyage’ and ‘Shopping Mall Of Love’ with the title track for the album from which the latter track is taken also providing the cue for the people of Wolverhampton to finally realise they really can dance too, and with everyone finally up on their feet for a fantastic ‘When Do I Get to Sing My Way’ the last piece of the Sparks jigsaw puzzle drops perfectly into place.

Of course, they have to play ‘This Town Ain’t Big Enough For The Both of Us’ and its here that I’m suddenly thinking of when I saw Sy Keeler’s post-Onslaught band Mirror Mirror thrashing their way through the classic in a tiny nightclub in Newport back in the early ‘90s, and then it hits my how much Sparks not only blend genres but actually help create them, as that really could  be current arena metal giants Ghost up there as the chords come crashing out of The Halls splendid all singing all dancing new PA system.

Having almost turned back at one point during tonight’s seemingly endless journey trying to get to the gig, I’m so glad we didn’t, as just like tonight’s headliners, great things do come to those who tough it out, and no that isn’t just a way for me to get an FM song title into my review.

A truly magnificent night of music. 

Author:Johnny Hayward

Siouxsie-Wolverhampton Halls 21/06/2023

<strong>Siouxsie-Wolverhampton Halls 21/06/2023</strong>

For this gig, I have to admit taking a different tact and actually booking public transport (a Train ) , not once did I realise I was about to enter Dante’s Seventh circle of hell, the one full of miini demons, dressed in pink cowboy hats watching Tic Tok vids endlessly of the arch demon known to us as Harry Styles and discussing pilgrimages to see his Succubus Taylor Smith!!!! Yup I chose to travel the day after the Harry styles gig in Cardiff stadium, after Taylor Swift announced her gigs for the year, the only saving grace on the whole journey, apart from my phone and Exit_International Black Junk on full volume a message from the H-Bomb himself letting me know we had tickets for TSOL & MDC in the Exchange in Bristol. 

This was my first trip to Wolverhampton and to a venue (The Halls) now run by Live Nation  but seen as a centre-point on the Local Authority’s regeneration  of Wolverhampton. Not having seen the Venue before it still has an old school venue feel and an excellent sound system. 

Tonight was all about ticking off another of those bucket list artists never having seen Siouxsie before and being honest I approached it with a bit of apprehension having seen some of the usual phone recordings of earlier shows on this tour. I needn’t have worried from the start things were almost bang on, as the intro of Camille Saint-Saens carnival of the animals drifted away the night kicks off with a fantastic 1-2 of “Night Shift” and “Arabian Nights” but Siouxsie is not happy with the sound something that then gets sorted very quickly after her berating the sound engineer. By the time we get to “Dear Prudence” the band are spot on and in the groove with a sound to match. We had a superb “ Loveless” a creatures classic “But not them”, before too soon we’re into “Christine” and “Happy House” and the set comes to an end. But just telling you about the songs played doesn’t really give the full picture, this was a show, Siouxsie orchestrating the musicians visuals enhancing each and every track.

Moving into the first encore, we had two!!!! we had a blinding “Switch” followed by “Spellbound”, then the second encore of “Hong Kong Garden” and “Israel”.

After opening the Halls with Blur, this Siouxsie gig, Sparks the following night and many more top line artists to come, I’d really like to think that music can help regenerate a city and chatting to the owner of Stay Loose Records the following day he confirmed that yes things have been picking up since they re-opened The Halls and, footfall and number of people staying over has increased.

Just maybe the Local Authority have got this just right.

Author: Nev Brooks

The Exploding Hearts – ‘Guitar Romantic’ (Third Man Records)

The Exploding Hearts – ‘Guitar Romantic’ (Third Man Records)

For under £20 you too can own a fine quality record of the debut album from power pop punks The Exploding Hearts. Their story is one of tragedy and a band dealt the most extraordinery end in music. There was talk of a documentary about the band but that seems to have gone all quiet and the one remaining member has surfaced to promote this here release, which is the shining light that has come out of this incredable story, apart from the fantyastic bunch of songs that made it to this record and the comp ‘Shattered’.

Four snotty kids with a bunch of Boys like power pop anthems enter a cheap studio and lay down some tracks that clock in at less than half an hour and subsequently blow people’s minds then tragedy strikes and the dream is gone. Kicking off with the majestic ‘Modern Kicks’ as good a power pop punk rock anthem you’ll ever hear, yup it’s that fuckin’ good.

I could have reviewed it from the original I own but I wanted to wait for the remastered to land with the bonus tracks but thanks to Third Man awful distro it was in the shops a few weeks before my copy arrived from their mail-order and almost ten UK pounds cheaper on Amazon but that’s a debate for another day. Where were we? Oh yes ‘Modern Kicks’ what a tune, an absolute gold standard banger. What a legacy to leave behind man some bands have been at it for decades and never wrote a song close to that, but, there’s more. This record is fantastic. House in a nice gatefold and with a decent loud remaster at least Third Man has done the band’s memory proud on that front.

Theres a new wave melody at every turn its like Rockpile if they were late teens mixed with the Boys mixed with valley of the dolls mixed with a hint of The Jam its none more evident than on ‘Throwaway Style’ or the epic and punchy ‘Thorns In Roses’ with the snotty melody and rapid beats underpinned by the chiming guitars before some serious boogieing.

This band could also seriously boogie on down with the best of them – from the Stooges one fingered piano drill on ‘Boulevard Trash’ to the acoustic baladeering on the dreamy ‘Jailbird’ turning the dial back as far as the Kinks or The Who for inspiration but you’re never far away from a Johnny Thunders inspired guitar lick like the snotty ‘Still Crazy’ with its cool as bv’s. As much as I love this album its forever steeped in tragedy but its one hell of a record and Third Man have done them proud here.

With a couple of remixes nailed onto the end is a welcome addition but I can’t urge you enough if you’ve never heard these cats then do it and buy this album – you absolutely won’t be disappointed – these songs rule and have aged superbly well. Long live The Exploding Hearts their flame is still buring thanks to reissues like this. Adam “Baby” Cox, Matt “Lock” Fitzgerald, and Jeremy “Kid Killer” Gage rest in peace fellas your legacy is forever preserved. Long live the Exploding Hearts.

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Author: Dom Daley