The Virginmarys/iDestroy – Hyde Park Book Club, Leeds – 31st May 2026

The Virginmarys/iDestroy – Hyde Park Book Club, Leeds – 31st May 2026

Macclesfield’s finest export, The Virginmarys, follow up their 2024 album ‘The House Beyond The Fires’ with a companion album ‘Beyond The House Of Fires’, a piano-led re-working where the songs have been stripped back and reimagined. Chords and structures have been changed, words have been rewritten, and it’s very much a different album sonically. To promote it, singer/songwriter Ally Dickaty and drummer Danny Dolan now take the show on the road for some intimate MTV unplugged-style shows. 

First up are Bristol band iDestroy. Bec on guitar and Nic on bass haven’t done acoustic shows before, but they embrace the format. Bec gets a bit of a rapport going, some crowd participation, and they have some great tunes. “All My Friends Are Plastic” and “Headphones” are particularly memorable. There’s a bit of Brit Pop and a smattering of Grunge going on, Elastica meets Hole could be a good starting point. They go down well and warm things up nicely.

The stage is set, iridescent candles shimmer, and pink LEDs draped across the amps glow as The Virginmarys take to the stage of an already hot n’ sweaty room. With guitarist and songwriter Ally taking on keyboards for this tour, The Virginmarys are joined by guitarist Gareth Price to boost the band to a 3-piece for this tour.

The thing I like most about this new album is that some songs that maybe didn’t stand out on the original album now come into their own. One such song opens the show tonight. Stripped of the jagged riffs and regimental beats, ‘My Nettle’ takes on a new lease of life, emotive and cinematic, it just hits in the feels. We watch in silence as Ally fingers a lush piano melody. Danny does not take his eyes off his musical partner’s fingers either, as he matches the raw and emotional vocal with a rousing beat. You could hear a pin drop for the entirety, and that’s not the only time that happens tonight.

‘Dance to the City’ follows, with its rousing chorus screaming the album title. It’s over in a flash. The songs flow by quickly, too quickly, they seem shorter somehow. ‘There Ain’t No Future’ still sounds as powerful without the killer power chords,  and ‘When The Lights Go Down’ is simply stunning, Gareth’s effect-ridden guitars adding a touch of Pink Floyd to proceedings. 

‘Urban Seagull’ is another that benefits from the reworking. Ally plays a lush arpeggio while Danny plays a regimental but subtle beat. A song that was made to be played in this setting. 

The set is mainly these new songs, none of the usual hits is to be heard in this format, but they fill it out with a few obscurities, just Ally solo. A cover of Leonard Cohen’s  ‘Everybody Knows’ fits the bill, ‘Sleep’ and ‘Cast The First Stone’ are heartfelt and beautiful and will make you want to revisit those early EPs. 

They capture that magical unplugged, laid-back vibe well, the intimate dark room helps magnify the cinematic, ethereal feel of these new reworked songs.

The only time the pace picks up is on the penultimate song, ‘Veteran Soldier’, an older song that was originally recorded acoustically and has been given the opposite treatment. The atmospheric intro leads into an almost Tarantino-esque spaghetti western vibe. A song of gratitude and undying friendship, it’s an album highlight and a gig highlight as well. But the best has been kept for last. ‘White Knuckle Riding’ for me is the kingpin of the whole album. Ally’s unfaltering vocals are sublime over the tinkling of the ivories, it builds with Danny’s gentle, regimented beats, just enough to accentuate things. Unsurprisingly, the emotive lyrics with the Northern references hit home in this intimate Leeds venue, and it’s a stunning end to a masterful set. No encores, no returns…job done.

The idea with this project was to recapture that 90’s MTV Unplugged vibe, and with both album and tour, The Virginmarys have succeeded. While this is more of a between-album project and not a new direction for the band, it was one of the most magical gigs I have seen them do. 

Author: Ben Hughes

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

From the nighttime, neon city wastelands of East London, there came a group, a collective of soul divas and rock n’ roll musicians led by the mysterious and enigmatic guitarist/producer Alex McGowan (aka Captain Future). This man without a tan has worked with the likes of Primal Scream, Jah Wobble, The Urban Voodoo Machine and Jim Jones. His band The Future Shape Of Sound could be the perfect festival band and over the years have been seen plying their trade at the likes of Red Rooster, Womad, Boomtown and even the Glastonbury festival. You can catch them occasionally, where society rejects frequent, dark, seedy bars and the occasional hometown Gypsy Hotel gig. They follow up their 2018 album ‘Shakedown Gospel’ with the long-awaited ‘Heavy Load’.

Keeping with tradition, ‘Heavy Load’ features several lead vocalists over the 10-track album, but predominantly it’s James Brown’s widow, Tomirae Brown, who not only takes the lead but also co-wrote most of the material with Alex.

Opener ‘I Want A Little Slow Blues’ is a low-key affair, a mid-paced groover featuring former Jim Jones Revue man Henri Herbert tinkling the ivories, backed by The Future Sisters gospel trio. This leads nicely into killer single ‘I’d Rather Be Alone’, where the band fully hit their groove. Tomirae adds raunchy Tina Turner vibes to the foot-stompin’ rock n’ roll party anthem. Co-written by The Urban Voodoo Machine mouthpiece Paul-Ronney Angel, it’s a surefire album highlight.

Claire Allen of The Guerilla Street gospel choir takes us to church on ‘Ain’t Standing By’ and Geraldine ‘Gee Gee’ Reid of The Divettes takes over for a couple of numbers too; the rhythmic gospel laced blues of ‘Ride’ sounds like an old forgotten traditional song and the more funky jam ‘You Can Change Your Mind’ showcases the tight and groovy rhythm section of bassist Duncan DeMorgan and drummer Doc Johnson.

Elsewhere, you’ll find a couple of beauties that encapsulate The Future Shape Of Sound vibe; the funk rock explosion of ‘Take The Money’ is trashy in a good way, it fits the Tomirae vocal delivery nicely, and the wah-wah guitars give added cool factor.  Tomirae & The Future Sisters return for the swampy blues anthem ‘Oh Mama’, and there is no surprise that it was a single. The slide guitar, the harmonica and the soulful backing vocals give depth to the catchy melody and footstompin’ vibes. You’ll add it to your playlist if you’re that way inclined. Me? I’ll just buy the record and play the whole damn thing the way the artist intended.  

Recorded at Alex’s own Space Eko East studio in East London, ‘Heavy Load’ captures the soulful rock n’ roll blues of a band that thrives in a live environment. With his congregation of multi-national and multi-talented musicians and singers, he takes the sounds of the streets and the dives of old London town, turns it into a celebration and takes us to pray at the church of rock n’ roll once again. It’s good to have them back. Now, where’s that vinyl pre-order button?

Buy Here

Author: Ben Hughes

Cyanide Pills – ‘Singled Out’ (Damaged Goods Records)

Cyanide Pills – ‘Singled Out’ (Damaged Goods Records)

Cyanide Pills could be the greatest punk band in the world; they’re surely the greatest punk band to drag their arses outta Leeds. A self-proclaimed “gang of cunts from a desolate land” consisting of Phil Privilage on vocals, Sy Pinkeye on guitar, Alex Arson on another guitar, Alarick on bass and Chris Wrist beating the drums. These lively lads from Leeds have been exciting audiences across Europe and beyond for the past 17 years, and with 5 albums under their studded belts and a whole bunch of single releases, it’s about time they released a greatest (s)hits record, right?

Well, here you go, you lucky fuckers! Here’s a tasty treat courtesy of Damaged Goods for ya. ‘Singled Out’ is all their 7” releases and the corresponding B sides (plus a couple of new unreleased singles) on double vinyl and shiny CD. That’s 33 tracks to devour. Are you excited yet?

You should be, just check out that track list. The A sides are worth the entry price alone. Spikey, power pop-infused punky goodness with buzzsaw guitars and choruses to die for, that is the signature Cyanide Pills sound, and they’ve got the songs in spades. From The Clash meets The Toy Dolls sound of debut single ‘Break It Up’ to the pogoing power pop of newbies ‘Amalia’ and ‘Second Best’, it’s a wild and melodic ride.

You’ll laugh along at the tongue-in-cheek lyricism, from the tale of forbidden love that is ‘Suicide Bomber’ to the political diatribe of ‘Government’, the band remain confidently relevant and humorous in equal measures. You may even ponder if Johnny Thunders did actually live in Leeds.

Highlights include the killer earworm ‘Conquer The World’, the ridiculously catchy ‘Big Mistake’ and recent single ‘Hope You’re Having Fun’. Songs that prove this band ages like a fine red wine.

Then we get to the really tasty stuff. If you’re a fan, but like me don’t collect 7” records, disc 2 is the place to begin. ‘Mail Order Bride’ and ‘Stick Em Up’ were on the flip side of the debut single, and to be fair, either of them could have been the chosen A side. High energy punk n’ roll with distorted riffs and choruses that most bands would die for. Elsewhere, the standouts are plentiful. For me, the ska-infused ‘Lock Me Up’, the Green Day-esque ‘Hooked On You’, and the 70’s glitter stomp of ‘I’m Celebrating’ are winners. These songs go a long way to show Cyanide Pills B-sides stand tall against the A-sides. And just wait until you hear ‘My Mind’s On Strike’, the flip side of the upcoming new single ‘Amalia’. With a verse that pummels the senses and a killer gang vocal chorus, it’s up there with their best.

It is said that true music fans don’t buy ‘best of’ albums, but this collection is a great starting point if you are new to the band, and is essential if you are a fan but don’t collect 7” records. Sequenced in release order, it’s an album that flows well and shows the progression of a band who get stronger song by song. ‘Singled Out’ is a worthy addition to any music lover’s collection from a homegrown band who are up there, standing tall against their contemporaries.

Buy Here

Website

Author: Ben Hughes

CJ Wildheart – ‘DEViL’ (self release)

CJ Wildheart – ‘DEViL’ (self release)

You could say ex-Wildhearts six-string shouter CJ is more prolific than main Wildhearts mouthpiece Ginger right now. Since stepping away from the band, CJ has kept himself busy and upped the ante with his own solo career. Recent tours with Michael Monroe and Ricky Warwick now lead to the release of his 8th solo album ‘DEViL’, an album that was apparently a true labour of love and could well be his musical swan song.

CJ is a true DIY artist in every sense of the word. On ‘DEViL’ he has recorded and played all the instruments himself, bar drums, which are more than ably handled by long-time compadre Jason Bowld, and mixing duties are once again by go-to-guy Dave Draper. If it ain’t broke, don’t fix it!

Lead single ‘One Of The Boys’ is a great starting point. Lyrically, it’s introspective and tackles the doubts and questions of an uncertain future. Musically, it aims for the stadiums with a chorus so uplifting that the ensuing goosebumps will contradict the lyrical message. It’s up there with his best work.

‘DEViL’ follows the blueprint of CJ’s solo career to date, in-yer-face powerful punk ‘n roll, dripping with memorable hooks and killer choruses, no slow songs and no acoustic guitars. Opener ‘Nein Nein Nein’ is a punchy assault to the senses, a wall of urgent beats and distorted guitars leads the way for gnarly vocals. The following, ‘The Art Of Being Free’, is a glorious and instant earworm with a euphoric refrain that is just what the doctor ordered. Mark my words, you’ll be singing along from the opening chorus, and it’s a song that demands the replay button.

But don’t hit that button just yet, as there is more great ear candy to devour. You could say some artists mellow with age, and some bellow with rage, CJ is firmly in the latter camp. He has perfected that vocal sneer over the years, and ‘SOB’ sees our man firing on all cylinders with a track that could be a Wildhearts B-side from 20 years ago (and we all know how good those are, right?). Elsewhere, the regimental rifforama of ‘No More’ bridges the gap between punk and metal nicely, leaving those pop melodies by the wayside, it’s the perfect conduit for a punk vocal delivery. Yet it is bookended by ‘Rotten’ and ‘Twenty Two’, a pair of ridiculously catchy tunes that walk a familiar, catchy and more commercial path. Album closer ‘Fade’ then sees our man in an introspective mood again as he soul-searches one last time.

As it becomes increasingly difficult for artists of all levels to tour and release music, you can forgive CJ for feeling it’s time to step away from the music business and move on to other things. And with the recent sad loss of former Wildhearts bassist Scott Sorry and Ginger’s recent health diagnosis, it feels like we are coming to the end of an era for fans of all things Wildhearts.

But don’t feel sad just yet, Wildhearts fans, as CJ has given us a winner with ‘Devil’, and if it is his musical swansong, then so be it, it’s a fine way to bow out in style.

Now, go pre-order the thing and maybe bag some Devilspit hot sauce for your bacon butty while you’re at it.

Buy Here

Author: Ben Hughes

Split Dogs/Wench!/Helle – Hyde Park Book Club, Leeds – 27th March 2026

Split Dogs/Wench!/Helle – Hyde Park Book Club, Leeds – 27th March 2026

Who’s up for a night of feminist shouty punk in a teeny, tiny venue at the arse end of Leeds then? Bristol punk n’ rollers Split Dogs certainly are. Riding high on a recent tour with Gogol Bordello, a new album to be released in September and a stonking new single in ‘Rock n’ Roll Business’ to promote. Tonight, they bring their wares to the ultra hipster Hyde Park Book Club, a prime student hangout filled with books, art, food, and a dark downstairs venue that is perfectly suited for sweaty punk rock debauchery.

Local band Helle are already halfway through their set as I arrive, and they seem to have guitar issues. It doesn’t phase singer Elsie, and she continues to smile and deliver her gothic-tinged riot grrl tunes, while the guitarist and soundman frantically try to fix the issue. The band continue to an already busy room with just bass, drums and an ethereal demeanour. Guitars reinstated, there’s a cool energy that makes me wish I’d turned up 15 minutes earlier. Imagine Siouxsie meets the Slits with a heady dose of Daisy Chainsaw for good measure. The girls look like rock stars, the boys look like…boys. Great stuff.

“Wench are not a girl band!” So states the blue-haired drummer from Hull-based shouty feminist punks Wench!, halfway through their set. I beg to differ as the 3-piece band are certainly girls. But I get it, when you’re playing to a largely male populated room, you gotta rage. And Wench certainly rage, with a raw and more visceral sound than the openers, their brand of aggro punk fits the bill nicely. The fact that the drummer and guitarist both handle lead vocals is pretty cool too, and gives some diversity. Two support bands that prove Northern grrls can riot with the best of ‘em.

Split Dogs are the rock n’ roll business from the moment they hit the stage. Dressed in a sparkly red number, singer Harry is the main focus, it’s difficult to take your eyes off her. Some singers just have a certain presence, and Harri is one of those singers who delivers. And by the time the new single “Rock n’ Roll Business” has floored us about 4 songs in, it’s clear they have the tunes to match.

Guitarist Mil Martinez wears his influences on his tattooed sleeves. The riffs sound like Sleazy Quo, the guitar tone is sublime, and the delivery is a Motörhead-style assault. Newish Bassist Suez is now broken in and holds down the low end, the new shirtless and moustachioed drummer already fits like a leather glove. 

“There’s room here at the front!” sneers Harry, beckoning those holding back to come forward and sweat. ‘Lafayette’ sounds killer, ‘Monster Truck’ is a beast and set closer ‘And What’ is as good as it gets. 

The relentless touring has paid off, it seems, as Split Dogs are a bit of a damn good live proposition. In a world where Amyl & The Sniffers are playing Enormodomes, it’s a travesty that a band as good as this are still playing small clubs. But hey, let’s keep it our little secret for now, ok. It’s 2026, and I watched 3 great bands for £12, now that’s a bargain night out in anyone’s book. 

Author: Ben Hughes

The Urban Voodoo Machine – ‘Other People’s Children’ (Gypsy Hotel Records)

The Urban Voodoo Machine – ‘Other People’s Children’ (Gypsy Hotel Records)

Covers albums can be hit and miss affairs. There are plenty out there, the good, the bad and the ugly. Well, with 5 studio albums, 2 compilations and an album of artists covering their own songs, London-based collective The Urban Voodoo Machine have surely earned the right to release a covers collection of their very own.

Chief songwriter Paul-Ronney Angel certainly thinks so. And in a world saturated with AI versions of your favourite songs reimagined as funk, soul or reggae, it seems fitting the one of the most exciting live bands around take 11 songs (some familiar, some not so familiar) and record them using real instruments, played by real musicians in a real recording studio.

For me, the essence of a good cover version is to put your own stamp on it and create your own masterpiece from an already existing piece of art. The Urban Voodoo Machine do just that with the opening song of ‘Other People’s Children’. Their take on the AC/DC classic ‘Hell’s Bells’ was actually recorded many moons ago for a Classic Rock compilation CD (remember those?). Who knew that injecting some bourbon-soaked gypsy blues bop n’ stroll music would work so damn well? With that iconic riff picked on an acoustic guitar and a horns & brushed beats accompaniment, PR and his band of brothers do the unimaginable and make the song their own.

It’s a strong start, but they keep the pace up with a rip-roaring one-two that really captures the live feel of the band. You could argue that ‘Rhinestone Cowboy’ and The Stones ‘Factory Girl’ were made to be covered by Paul at his most inebriated, and the delivery just fits the feel of songs. Its captured beautifully, as our ringleader wails whisky-soaked tones over crashing, rustic instrumentation. The latter especially works so well with banjo and horns to the fore, creating a gypsy style party vibe.

Noone can deny the pop suss of ABBA, and ‘Chiquitita’ has never been tackled with such drunken aplomb. Side 1 ends with a spaghetti western drenched version of ‘Destiny Angel, an emotive song written by sadly departed founding member Nick Marsh. It has been re-recorded here with the help of members of Nick’s family.

Side 2 carries on the tribute to lost members theme with ‘The Lodger’, a song written by Mark Gilligan, who played with the band on and off for many years. His son Tristan joins the band on guitar for this Pogues inspired folky ditty, it’s a killer tribute. Originally a hit for The Standells in 1966, ‘Dirty Water’ is a rock n’ roll party that sounds like about 5 UVM songs rolled into one. With a faster pace and a fistful of energy, it’s probably my favourite song on the record right now.

Ry Cooder’s ‘Across The Borderline’, with its re-tagged “London, you’re my home” refrain is topical and suitably delivered in an acoustic based, gypsy blues style. The late night ‘live in the studio’ vibes continue with the smoky ‘Jimmy Jazz’, where PR and his harmonica take the spotlight to do justice to The Clash and make this London Calling cut even more jazzy.

The Urban Voodoo Machine love a good instrumental and if you’ve seen them live, you may well have seen them open with the classic ‘Popcorn’. Here it comes on like it’s been ripped straight from a Tarantino movie. The gospel classic ‘I’ll Fly Away’ brings things to a close nicely, a song the band play regularly in their other incarnation as The Urban Voodoo Machine Marching Band, who play funerals with a New Orleans style twist. Maybe I’ll get them booked in for my send off!

The live energy Of The Urban Voodoo Machine is captured magnificently by Alex McGowan at Space Eko Studios, and the great thing about this album is that it sounds like a regular Urban Voodoo Machine record. They bring the party every time, whether it’s their own songs or these other people’s children that they have made their own.

Like I said at the beginning, covers albums are hit & miss affairs, and this one is very much a hit as far as I’m concerned.

Buy Here

Author: Ben Hughes

The Hives – Stylus, Leeds – 31st August 2025

The Hives – Stylus, Leeds – 31st August 2025

“I think the show’s going well so far, what do you think?” asks The Hives mouthpiece Screamin’ Pelle Almqvist, halfway through a 45-minute set from probably the greatest garage rock band around. 

The Hives are playing a series of album release shows at intimate venues across the UK, promoting their most excellent new long player “The Hives Forever, Forever The Hives’. 

This show was arranged in conjunction with local independent record store Crash Records, and is a completely different kettle of fish compared to last night’s amazing Bryan Adams show at the Brudenell up the road.

While both acts hit the stage bang on 8pm and are done before 9pm, The Hives choose to play oldies and newbies rather than concentrate just on the new album.

That said, the first couple of tracks are new, and they absolutely kill it.  Opener ‘Enough Is Enough’ slays from the opening bombardment of jagged riffs and powerhouse drums. Pelle is stage front, motioning at the crowd to go wild before he has even sung a note, and they respond. To his left Nicholaus performs his signature moves while bashing out punchy riffs on his telecaster. You can’t take your eyes off the pair of them.

Like The Ramones before them, the Swedes deliver song after song. 3 chord punk rock, a tried and tested style where the songs may sound the same, yet are still different, energetic and exciting. You instantly know a Hives song when it hits the radio, right?

‘Paint A Picture’ follows, the crowd go wild for the hyper energetic vibe the band create. That chorus is sublime; it’s a killer tune make no mistake. Two songs in and the frontman has the whole room in the palm of his hands; oh he makes it look so easy!

Next up ‘Bogus Operandi’ sounds like an old friend, it’s epic, nearly as epic as the following classic ‘Hate To Say I Told You So’, which is never going to disappoint at any size venue.

It’s warming up nicely, hold on, we’re only 5 songs into a Hives show, that’s about 15 minutes in real time! They jam out and extend an incendiary ‘Tick Tick, Boom Boom’ to give the hyper crowd down the front a breather between Pelle’s high kicks and DLR style stage raps. He’s in the crowd for at least the third time tonight, and you can’t take your eyes off him. 

‘Legalise Living’ is another newbie single that goes down a blast, and Strokes soundalike ‘The Hives Forever, Forever The Hives’ closes the main set in style with an audience member dragged up on stage to play the 2 chords needed. 

A one-two encore of ‘Come On!’ And ‘Countdown To Shutdown’ ends a show that went by in the blink of an eye. 

9 tracks in 45 minutes, delivered with enough raw power, humour and energy to fuel a small city. With a frontman who entertains and lights up a crowd with his humour as much as his voice, and a band who are a well-oiled punk rock machine, The Hives were never going to be anything short of amazing tonight. The Hives forever, forever The Hives indeed. 

Author: Ben Hughes

Wolfsbane – ‘Live Faster’ (Self Release)

Wolfsbane – ‘Live Faster’ (Self Release)

Somewhere back in the mists of time, Tamworth terrors Wolfsbane were one of the bright young hopes of a burgeoning UK rock scene. Along with the likes of The Dogs D’amour, The Quireboys and The Almighty, they graced the covers of the UK music magazines and were destined for big things. With a fierce live reputation and a dedicated fanbase affectionately known as ‘The Howling Mad Shitheads’, it seemed Blaze Bayley and the boys could not fail; then they signed to Def American Records, the label run by the legendary Rick Rubin, mastermind behind The Beastie Boys and others. A producer who had turned around the careers of Slayer, Red Hot Chilli Peppers and The Cult to name but a few. But somehow, he managed to zap all the live energy from Wolfsbane’s debut album ‘Live Fast, Die Fast’.

While they redeemed themselves on the following Brendan O’Brien produced mini album ‘All Hells Breaking Loose…’, sadly the stars never aligned for the band, Blaze jumped ship for Iron Maiden and the rest as they say, is history.

Now, some 40-odd years later, Wolfsbane plan to right the wrongs and have completely re-recorded that debut album in full.

I always thought of Wolfsbane as the British Van Halen. My first introduction was their Friday Rock Show session, Blaze sounded like Roth and Jase Edwards had the guitar histrionics to match Eddie Van Halen, the live feel of those songs matched the energy of the Californian legends. Maybe if Dave & Eddie had started their days on a council estate a few miles from Birmingham, they too would’ve sounded just like Wolfsbane. In 2025 this re-imagined ‘Live Fast, Die Fast’ sounds raw, tight and exciting. With the same running order and the song structures staying faithful to the original recording, what stands out most is the production.

With that familiar hammer-on intro, ‘Manhunt’ fills the speakers like an old, lost friend. Is it faster? It sounds fast! The main change here is the drum sound, while the original was snare-heavy and polished, the drums overpowering and in your face, here the instruments all gel as they should. Next up, ‘Shakin’ sounds great, real ‘live in the studio’ vibes here. It’s the song that remains the most Van Halen-like to me. A classic tune given the sound it so rightly deserves.

With face-melting guitars and a killer hook, ‘Killing Machine’ was a live favourite back in the day, and it still holds up. ‘Fell Out Of Heaven’, again, has Roth vibes in the vocal department and another killer chorus, yet in my mind I still prefer the Friday Rock Show version.

Elsewhere, the live energy is captured magnificently by Jase Edwards’ stellar production, even the big MTV single ‘I Like It Hot’, with its sheen removed, is still as commercially pop-tastic as I remember. My only gripe would be the token ballad ‘Tears Of A Fool’, which would have been all well and good if they were The Dogs D’amour, but it didn’t fit the feel of the album in 1989, and it still doesn’t in 2025. Maybe they shoulda banged on ‘Paint The Town Red, instead.

While this re-recorded version of ‘Live Fast, Die Fast’ is unfinished business for the band, and is steeped in nostalgia, the songs stand the test of time and remind those who were there what a great band Wolfsbane were back in the late 80’s.

‘Live Fast, Die Fast’ remains a testament to the fact that not all the most exciting bands came from the Sunset Strip back in the late 80’s, some came from the Midlands too. Do yourself a favour and get reacquainted with a lost gem.

Buy Here

website

Author: Ben Hughes

Rival Sons/Creeping Jean – The Barbican, York – 24th June 2025

Rival Sons/Creeping Jean – The Barbican, York – 24th June 2025

Following on the release of the ‘Darkfighter’ and ‘Lightbringer’ albums in 2023, Californian 4-piece Rival Sons continue their non-stop touring schedule, which currently sees the band in a prime position opening arenas and stadiums across Europe for Guns n’ Roses.

8 albums into their career, and the retro rockers show no signs of slowing down. In between these big shows, they have fitted in a handful of UK headline dates; one such date brings them to York for the first time, before they head on to Wembley Stadium and beyond.

First up tonight, we have Brighton-based throwbacks Creeping Jean, who seem the perfect opening act for Rival Sons. The 5 piece certainly looks the part, they have the threads, the hair, the grooves and moves to match. Although they do have their very own Bez on tambourine and backing vocals, who seems to be trying just that bit too hard to be cool.

The tunes ain’t too shabby though, and the delivery is great, they go down well with the growing crowd. If you dig the likes of Free and Deep Purple, then you won’t go far wrong with this bunch of 70s-influenced dudes. Worth checking out for sure.

The scene has been set, and as the lights dim to great cheers, Rival Sons enter the room and deliver a masterclass of bluesy rock n’ roll, straight from a bygone era. The constant touring has made Rival Sons a well-oiled live machine, but they always have been, right? A band doesn’t get this good by luck. It’s all about putting in the hours, hard graft and loving what you do.

Opener ‘End Of Forever’ sets the scene nicely. The sound mix is pretty decent from the off, yet it takes a few songs for the vocals to bed in. Michael Miley’s bombastic drums sound massive, stage right, Dave Beste holds down the low end, stage left, the ever-cool Scott Holiday peels off effect-ridden riffs on the first of an impressive array of guitars he uses tonight. Centre stage, the suited and bare-footed frontman Jay Buchanan weaves his body, hits notes only dogs can hear and commands his audience with the stage presence and vocal delivery of all your favourite classic rock singers rolled into one.

It all wouldn’t be so impressive if they didn’t have the tunes, but Rival Sons do have the tunes. ‘Electric Man’ is one such song; it sounds fantastic and gets one of the biggest receptions of the night. Scott’s iconic riffage and Jay’s soaring vocals are the perfect pairing for this standout cut. Elsewhere, ‘Pressure & Time’ and ‘Manifest Destiny’ prove they are more than just a singles band, as they jam out album tracks with the energy and bravado of a hungry, young band on their first tour.

Although they only delve into the last two albums briefly, the new songs fit the set like a glove. I guess with 8 albums to draw on, you can’t have it all, but highlights are plentiful. ‘Rapture’ is stunning in the confines of this 1400-seater room, as is the emotive and beautiful ‘Mosaic’. Delving deeper, the likes of ‘Feral Roots’ and ‘Tied Up’ make me wanna rediscover those older albums I may haven’t given the time they deserve.

While their retro-tinged sound is drenched with modern, effect-loaded guitars, whatever they do, Rival Sons cannot escape the 70’s rock comparisons. There may well have been a drum solo tonight, just a small one. And of course, there are plenty of guitar histrionics from the dapper Holiday, as he switches guitars every few songs and peels off killer licks. It all comes across like a scene from ‘Almost Famous’, and I mean that in a good way.

Mid-set, the boys get a breather as Jay takes things down with an emotive and soulful solo rendition of ‘Shooting Stars’, just one man, one acoustic guitar and a room of fans to give the accompaniment it deserves.

There is no encore, the band preferring to end with a rousing and groove-heavy ‘Secret’ from the recently reissued ‘Great Western Valkyrie’ album.

I’ve seen Rival Sons several times over the years, and every time they own the stage the moment they walk on until the final note fades and blends with cheers of their adoring fanbase. Yes, the music is nostalgic, and you can only describe them as ‘Classic Rock’, but is that such a bad thing? In a sea of wannabe retro rock bands over the years, Rival Sons stand tall above their peers as one of the best live acts currently actively touring and releasing new albums. It’s no surprise they are opening the show for the GNR juggernaut; they fully deserve the exposure. Tonight, Rival Sons triumphed in York, and I for one hope they return sooner rather than later.

Author: Ben Hughes

The Darkness – ‘Dreams On Toast’ (Cooking Vinyl Records)

The Darkness – ‘Dreams On Toast’ (Cooking Vinyl Records)

I must admit to having a bit of a love/hate relationship with The Darkness. Seen as the metal band it’s ok to like by the Radio 1 listeners 20 years ago, but ostracised by the rock community for being the band it’s uncool to like. 

As with many bands of their ilk, The Darkness have done the sex, drugs and rock n’ roll to the max, and are still here to tell the tale. 20 years down the road, they remain top songwriters, a fully entertaining live band and they’ve gone a long way to prove they are more than just a novelty act. 

The power pop induced goodness of recent singles ‘The Longest Kiss’ and ‘I Hate Myself’ prove Justin Hawkins is doing something right and certainly piqued my interest in the run up to the release of their 8th album  ‘Dreams On Toast’. The former sounds like Jellyfish jamming with ELO, the latter a 70’s styled glam stomper, they are both excellent earworms up there with the best singles released so far this year.

But what about the rest of the album, pray tell? Well, Justin Hawkins is a man who is always ready to embrace the theatrical side of rock n’ roll; he gets the humour and the utterly ridiculous nature of the more flamboyant avenues of rock’s past. It wouldn’t be The Darkness any other way, right kids? I mean, who would open their album with a dumb-ass pastiche to 80’s metal, filled with cliched lyrics and second-hand Ratt riffs? ‘Rock And Roll Party Cowboy’ is exactly that. A bit of a weird album opener if you ask me, but it is a grower. 

But The Darkness ain’t a one-trick pony. The band are mixing it up, and the surprising strengths of ‘Dreams On Toast’ lie in its diversity.

Yes, there’s the generic balls to the wall rock of ‘Mortal Dread’ and ‘Walking On Fire’, both punchy as fuck and full of heavy, AC/DC riffage. Yet, at the other end of the spectrum we have a countrified ode to male bottom burps whilst shagging, cunningly titled ‘Hot On My Tail’, and the folk inspired ‘Cold Hearted Woman’. Both emit feelings of sentiment, but Justin’s clever tongue-in-cheek lyricism remind you not to get too sentimental.

Elsewhere, the piano-led ‘Don’t Need Sunshine’ closes side 1 and channels those classic Queen meets ELO vibes with a soulful melody and sweet, multilayered vocals. It’s 70s rock balladry at its finest. 

Side 2 sees another curveball in the shape of ‘The Battle For Gadget Land’. Here, the band deliver indie style stabbing guitars and urgent beats before a breakdown with a camp, spoken word section that takes us into Tim Curry/Danny Elfman territory. 

Things get even weirder on closer ‘Weekend In Rome’, a song that aims to conjure cinematic soundscapes but falls short of the mark.

If you dig falsetto vocals, twin guitar harmonies, tongue in cheek lyricism and general bad-assery, go buy a Steel Panther album! Failing that, give the new Darkness long player a go, it has all that and more. A diverse album that is all over the place, but it sort of works. At just over 30 minutes long, it never outstays its welcome and begs to be played again and again. 

Is it the best album of the year? No. Is it the funniest album of the year? Possibly. Is it the funniest and best Darkness album for years? Definitely. 

Buy Here

Author: Ben Hughes